tag:blogger.com,1999:blog-40919331134514872342024-02-18T20:15:20.067-08:00Erupting NowVolcano Theatrehttp://www.blogger.com/profile/05842981636478085003noreply@blogger.comBlogger90125tag:blogger.com,1999:blog-4091933113451487234.post-35653402496545970332017-03-20T09:03:00.000-07:002017-03-25T11:47:12.301-07:00Assistant director, Michela Sisti chats with the writer of Infinity, Hannah Moscovitch<span style="font-family: "times" , "times new roman" , serif; font-size: large;">Our lovely assistant director, Michela Sisti sat down to talk with the woman behind the words of <i>Infinity,</i> Hannah Moscovitch.</span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b>Infinity<i>, like a number of your other plays, has asked you to do a lot of research outside of your existing sphere of knowledge. How did you make the step from Lee Smolin’s book, Time Reborn, to the story we see on stage? When, as a writer, do you know it’s time to stop researching and start forging your own path?</i></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">HM: I don’t have a system for how to write, such as how to work with research when writing a research-heavy play, etc. I can speak about projects after they’ve been produced, but I’ve resigned myself to the fact that I can’t articulate (and don’t know) what I m doing during the process. Or I know the shape of what I’m doing, but I don’t know the particulars. I don’t write from outlines. I don’t know how the play will end when I start drafting it. I only have a jumbled set of images in my head when I start. I know in the case of Infinity I sat there and flipped back and forwards from the research to the play, and that went on for months. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b><i>How has </i>Infinity<i> – and your relationship to its characters and ideas – evolved from it’s earliest, pre-rehearsal room drafts to the version that has been extended at Tarragon this spring?</i></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">HM: At first our source material was a New Yorker article [<a href="https://www.scribid.com/document/64504342/Clash-of-the-Time-Lords"><span class="s1">Clash of the Time Lords</span></a>] that Ross Manson sent me that compared astronomical to atomic. None of that work survives in the current project. Our first workshop was in studio doing dance improvisation. At that point, I was dancing in the show. So you see there were a number of iterations before we arrived at the current one. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b><i>I recently came across something that the poet </i><a href="http://glynmaxwell.com/%22%20%5Ct%20%22_blank"><span class="s1"><i>Glyn Maxwell</i></span></a><i> wrote: “Whoever masters form masters time.” That made me wonder, how did the structure you've chosen for Infinity help you to coax out the thematic material of your piece? </i></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">HM: I like that quote because I don’t understand it. I wanted time to move both incredibly quickly and slowly in the piece. In Elliott and Carmen’s timeline, between one and eight years pass between each scene I show you, until we near the end. So that you get a sense of the totality of a romantic relationship between two people. But in Sarah Jean’s timeline, we are in real time, because she’s in the middle of an epiphany, and so time is 1:1 - you see her whole time line. Because Lee Smolin’s theory is that time is real – and that past/present/future are separate (this is revolutionary in physics and refutes Einstein), I wanted the audience to experience the reality of time in two ways. That it passes quickly and life ends. And via a real time relationship to a character. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b><i>In order to get to the bottom of her question of whether love is real, </i>Infinty’s<i> Sarah Jean has to search through a tangle of past sexual encounters that are rooted in her memory. Has there been continuity between writing the character of Sarah Jean and writing the protagonist of your 2016 play, </i>Bunny<i>, by any chance?</i></b></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">HM: This question made me laugh. Yes. I’m writing a series of increasingly personal projects. Both Bunny/Sorre in Bunny and SJ in Infinity are versions of myself. I have a new project I’m developing with Theatre Centre in collaboration with the performer Maev Beaty and director Ann-Marie Kerr called Secret Life of a Mother. In it, Maev Beaty plays a person called “Hannah Moscovitch”, so I am now developing work that's no question confessional. I’ve always adored confessional writing – Sheila Heti, Sylvia Plath – but never written it myself until now. </span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b><i>What was the most valuable thing you learned through the process of writing </i>Infinity?</b></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">HM: I learned how much I like working collaboratively over a long development period and with a stable set of creators – Ross Manson, Kate Alton, Njo Kong Kie, Lee Smolin, </span><a href="http://www.tarragontheatre.com/contributor/6693/%22%20%5Ct%20%22_blank" style="font-family: Times, "Times New Roman", serif;"><span style="font-size: large;">Andréa Tyniec</span></a><span style="font-family: "times" , "times new roman" , serif; font-size: large;">, Paul Braunstein, Amy Rutherford, and Haley McGee developed the show with me over the course of a number of years. Infinity wouldn’t be the same project if the collaborators had been different people. And I learned how much I like collaborating with theoretical physicists. </span></div>
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<style type="text/css"> p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 10.5px Calibri; color: #ffffff} p.p2 {margin: 0.0px 0.0px 0.0px 18.0px; font: 10.5px Calibri; color: #ffffff; min-height: 13.0px} p.p3 {margin: 0.0px 0.0px 0.0px 0.0px; font: 10.0px Calibri; color: #ffffff} p.p4 {margin: 0.0px 0.0px 0.0px 0.0px; font: 10.5px Calibri; color: #ffffff; min-height: 13.0px} p.p5 {margin: 0.0px 0.0px 0.0px 36.0px; font: 10.5px Calibri; color: #ffffff; min-height: 13.0px} p.p6 {margin: 0.0px 0.0px 0.0px 0.0px; font: 10.0px Times; color: #ffffff; min-height: 13.0px} p.p7 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Times New Roman'; color: #ffffff; min-height: 15.0px} span.s1 {text-decoration: underline} </style><style type="text/css"> p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 10.5px Calibri; color: #ffffff; background-color: #000000} p.p2 {margin: 0.0px 0.0px 0.0px 18.0px; font: 10.5px Calibri; color: #ffffff; background-color: #000000; min-height: 13.0px} p.p3 {margin: 0.0px 0.0px 0.0px 0.0px; font: 10.0px Calibri; color: #ffffff; background-color: #000000} p.p4 {margin: 0.0px 0.0px 0.0px 0.0px; font: 10.5px Calibri; color: #ffffff; background-color: #000000; min-height: 13.0px} p.p5 {margin: 0.0px 0.0px 0.0px 36.0px; font: 10.5px Calibri; color: #ffffff; background-color: #000000; min-height: 13.0px} p.p6 {margin: 0.0px 0.0px 0.0px 0.0px; font: 10.0px Times; color: #ffffff; background-color: #000000; min-height: 13.0px} span.s1 {text-decoration: underline} </style>Volcano Theatrehttp://www.blogger.com/profile/05842981636478085003noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-47823357904928216482017-02-17T10:13:00.000-08:002017-02-17T10:14:17.143-08:00Part 2: The Infinity cast on getting into character and how this play has shaped their perspectives of time.<div class="MsoNormal">
<i><span lang="EN-US">The conversation between assistant director Michela Sisti and the cast of Infinity continues....</span></i></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US"><br /></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US">Infinity</span></i><span lang="EN-US"> is in many ways a
very heavy play, emotionally. What sorts of things do you do as performers to first of all prepare yourself for your time in the room, and then how do you
let go of it afterwards?<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><br /></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-UyxDabcTsRjH8WN-DeFinmNg33DjoVW7bWjpXhcGjeQRbuCIkhDn0jWYvOtiyZfQPgPb557mMZJ82BZk1hLwDItL9og8qUFMOvUM3xXEHYbRH43D9NfJOR9B1veJva86I7DlGJMXUNKX/s1600/_MG_0571.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-UyxDabcTsRjH8WN-DeFinmNg33DjoVW7bWjpXhcGjeQRbuCIkhDn0jWYvOtiyZfQPgPb557mMZJ82BZk1hLwDItL9og8qUFMOvUM3xXEHYbRH43D9NfJOR9B1veJva86I7DlGJMXUNKX/s400/_MG_0571.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;"><b>Paul Braunstein, Amy Rutherford & Vivien Endicott-Douglas</b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Paul:<span style="mso-spacerun: yes;"> </span></span></b><span lang="EN-US">I just try to
keep some energy for the end of the day. <b style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;"> </span></b>It’s emotional but there’s a certain
satisfaction in that too.<span style="mso-spacerun: yes;"> </span>I remember
that from <i style="mso-bidi-font-style: normal;">Goodness </i>too – the other
Volcano show I did with Amy.<span style="mso-spacerun: yes;"> </span>It was so
heavy, so messed up: holocausts and genocide. Yet, it’s such a good play that a
kind of artistic completion happens that feels really good when it arrives. <b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Vivien:
<span style="mso-spacerun: yes;"> </span></span></b><span lang="EN-US">I think that
as much as it is heavy in this play<b style="mso-bidi-font-weight: normal;">, </b>for
me the release that Sarah Jean has at the end is a kind of a catharsis. For me
it is a hopeful thing that she recognizes she can change and that we all can
change.<b style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;">
</span><o:p></o:p></b></span></div>
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<span lang="EN-US">I don’t know whether or not that’s like crystal
clear to the people in the audience, but hopefully it kind of permeates and
they go away and call somebody that they love, or feel opened up, as opposed
to hardened. <span style="mso-spacerun: yes;"> </span>Definitely, it is hard and
it is exhausting to do this journey every night but there is a connection that
happens that opens me in a way that I am grateful for. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Amy:
</span></b><span lang="EN-US">All of the people working on this show are invested
and supportive and full of play and humour so that makes it easier.<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
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<span lang="EN-US">I have to say I have a different experience
with my character because Carmen doesn’t have that sort of epiphany moment. So
I think it’s one of the most challenging plays that I have ever done. I do
leave feeling like I have something that I have to shake.<span style="mso-spacerun: yes;"> </span>So I’ve just been trying to rest and eat well
and exercise. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Last
question: Is time open or closed to you?<o:p></o:p></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil2iXLtUUIkBQgba69P3udWNYqaoR9_7AhQo1XpTTF4k9WpYK66QhI0fzUCZoEP6crNJNOFJ4EPUMklSx9sGnJYUA7dt25-RN43nb9fMMTiFrg0FEqfAkvL5YiQV5XM5dKw094XG4vjofH/s1600/_MG_0861.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil2iXLtUUIkBQgba69P3udWNYqaoR9_7AhQo1XpTTF4k9WpYK66QhI0fzUCZoEP6crNJNOFJ4EPUMklSx9sGnJYUA7dt25-RN43nb9fMMTiFrg0FEqfAkvL5YiQV5XM5dKw094XG4vjofH/s400/_MG_0861.jpg" width="400" /></a></div>
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<span style="font-size: x-small;"><b>Vivien Endicott-Douglas (Sarah Jean Green)</b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Paul:<span style="mso-spacerun: yes;"> </span></span></b><span lang="EN-US">It’s open. I
definitely feel that it’s open. I’m not quite totally sure what it is and I
know that my physical being on this earth is finite.<b style="mso-bidi-font-weight: normal;"> </b>One day this chunk of meat is going to lay down and never get up
again…<o:p></o:p></span></div>
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<span lang="EN-US">[<i style="mso-bidi-font-style: normal;">Laughter
from everyone!</i>]<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
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<span lang="EN-US">It might get up again with modern science!
It could happen. Look out!<o:p></o:p></span></div>
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<span lang="EN-US">[<i style="mso-bidi-font-style: normal;">More
laughter.</i>]<o:p></o:p></span></div>
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<span lang="EN-US">It’s open. I feel like it’s open. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Open
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<!--StartFragment-->
<!--EndFragment--><br />
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Vivien</span></b><span lang="EN-US">: It’s open. We all have the capacity to change. <o:p></o:p></span></div>
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<span lang="EN-US"><br /></span></div>
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<span lang="EN-US">Based on sold-out shows <i>Infinity</i> is back from March 22-April 2 for a limited time run at the Tarragon's Extraspace. <a href="http://www.tarragontheatre.com/show/infinity-2/" target="_blank">Click here</a> for tickets!</span></div>
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<span lang="EN-US"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
Anonymoushttp://www.blogger.com/profile/11011268221271187109noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-69406520017389455472017-02-08T08:24:00.001-08:002017-02-13T06:16:40.088-08:00It's cast interview time! The cast of Infinity tells assistant director, Michela Sisti, what it's like to perform this raw and emotional play and how it has touched their lives.<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US">Backstage
at the Tarragon Extraspace. Thirty minutes before dance call.</span></i></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US">I’m
sitting knee-to-knee with Amy Rutherford (Carmen) and Paul Braunstein (Elliot)
in a tiny dressing room. There’s a sound of shuffling and </span></i><i style="mso-bidi-font-style: normal;"><span style="mso-ansi-language: EN-CA;">Vivien
Endicott-Douglas (Sarah Jean) enters through the back door in her winter
jacket: “Oh right we’re doing this today.” </span><span lang="EN-US">It’s
cast-interview time. <o:p></o:p></span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US">It’s
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</span>It’s good to be back. <o:p></o:p></span></i></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Paul
and Amy, when you first began working on <i style="mso-bidi-font-style: normal;">Infinity</i>
with Ross in 2015, one of the things that you did was visited the Perimeter
Institute for Theoretical Physics. What did you encounter there that maybe
informed your approach to your characters?<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Paul:</span></b><span lang="EN-US"> Ok two things happened.<span style="mso-spacerun: yes;"> </span>One:
I went, “Man I’m never going to be able to get close to fully understanding the
science that’s real in this play!”<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-US">But what made me feel ok with that is that
I saw that there is this huge institute devoted to people who are thinkers and
dreamers and who have massive imaginations. They have the language of physics to help them realize those ideas on a chalkboard, in a book, or on a
computer.<span style="mso-spacerun: yes;"> </span>But basically I felt closer to
them as an artist.<span style="mso-spacerun: yes;"> </span>I realized my link to
a theoretical physicist was as an artist, and as a thinker and as someone who
has to be open to ideas. <o:p></o:p></span></div>
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<span lang="EN-US">That’s where I felt ok about the science
part of Elliot’s character being a completely different language for my brain. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Amy:
<span style="mso-spacerun: yes;"> </span></span></b><span lang="EN-US">We met all
sorts of really inspiring people of all ages ranging from 14 to over 65. And
they were all considered equals there. There is a belief that innovative great
ideas can come from any source no matter what the age. They don’t need formal
education necessarily to come up with unique groundbreaking ideas.<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
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<span lang="EN-US">There was one boy there that was being
mentored by Lee Smolin. We asked Lee, “How are you mentoring him? What are you
teaching him?” And he said, “I’m not telling him anything. I’m trying to create
an environment where we’re not interfering with his ideas.” <o:p></o:p></span></div>
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<span lang="EN-US">They share their projects as they’re in
progress. It’s not like they hole up in a room and protect what they’re working
on. They actually share.<b style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;"> </span></b>In fact Lee talks about this: about the
democratic world of theoretical physics and why it works. And there’s a lot to
learn in that. <span style="mso-spacerun: yes;"> </span>I think the most
fulfilling and effective creative projects I have been in throughout my career
have been ones where those involved are secure enough to be collaborative. They
don’t have to hold onto hierarchy in order to feel valuable in the room. Where
people are able to share ideas creatively through true collaboration. <o:p></o:p></span><br />
<span lang="EN-US"><br /></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: x-small;">Lee Smolin, Paul Braunstein & Amy Rutherford at The Perimeter Institute</span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Amy,
your character, Carmen, has undergone some changes since Hannah has continued
working with the script. I’m wondering whether you can talk a little about
those changes and how you’ve adapted to them. <o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Amy:</span></b><span lang="EN-US"> I was thrilled by the changes!<span style="mso-spacerun: yes;">
</span>I think their greater impact was on the script as a whole, as opposed to
it changing my character in any great way. So it feels like this time around the
audience seems to understand the love between Carmen and Elliot better: that
they’re not just simply a dysfunctional couple. It’s clearer now that Carmen is
just as successful and that on some level and she understands Elliot. So I
think the play has a different impact.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Vivien,
you and Ross have been playing around with different ways into the character of
Sarah Jean and the last few rehearsals I felt like there was a kind of shift
that took place. <o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Vivien:</span></b><span lang="EN-US"> I don’t know if it was so much as a shift but a building that
happened. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Amy:</span></b><span lang="EN-US"> In ten days!<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Vivien:</span></b><span lang="EN-US"> It took me a little while to get into the world of the play, and
there was so much happening that I couldn’t necessarily prepare for, in terms
of what’s happening to Sarah Jean in the transitions.<span style="mso-spacerun: yes;"> </span>I think that rehearsing the transitions
actually informed the monologues in a really helpful way. The more we ran the
play and the more I got to do the scenes as the child with my parents, the more
it informed looking where Sarah Jean’s at. <o:p></o:p></span></div>
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<span lang="EN-US">Because before that we had been doing a lot
of work on [young Sarah Jean] separately. And I think that as much as [young]
Sarah Jean is in a different time, there are psychic kind of links to where
she’s at when she’s an adult and what’s going on underneath what she’s saying.
I could only get that in my body through running the play.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Plays
and movies about love and science seem to be cropping up more and more: <i style="mso-bidi-font-style: normal;">Theory of Everything</i>, <i style="mso-bidi-font-style: normal;">Constellations</i>…<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Vivien:
</span></b><i style="mso-bidi-font-style: normal;"><span lang="EN-US">The Imitation
Game</span></i><span lang="EN-US">!<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Yeah,
I’ve always been fascinated by that pairing! Why do you think people want to
make art about this, or want to see art about this?<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Paul:
<span style="mso-spacerun: yes;"> </span></span></b><span lang="EN-US">I don’t know.
I guess something as unquantifiable as love might be kind of exciting up
against attempts at quantifying things, maybe.<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Amy:
</span></b><span lang="EN-US">Yeah, maybe there’s a hope that strong emotions
such as love, anger, betrayal can be explained.</span><br />
<span lang="EN-US"><br /></span>
<span lang="EN-US"><b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span><br />
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<b><span style="font-size: x-small;">Vivien Endicott-Douglas in <i>Infinity</i> </span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Paul:</span></b><span lang="EN-US"><span style="mso-spacerun: yes;"> </span>Even in physics they have
names for particles that they haven’t even actually seen.<span style="mso-spacerun: yes;"> </span>You know, there’s all that talk about the
‘god particle’ – the unknown unseen thing, the force, the energy, that hasn’t
yet been seen as an actually physical thing…<o:p></o:p></span></div>
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<span lang="EN-US">So you go, “Maybe, we’re trying to explain
something that is so full of magic, the same way that love is and we don’t know
how to say exactly what love is.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US">We’re trying to describe things with words
and make sense of things. The feeling of love – how can you properly describe
it, either in words or through science? It’s impossible. Words and science
don’t actually do a lot of things justice – the things that that are in our
hearts and what we feel.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Amy:
<span style="mso-spacerun: yes;"> </span></span></b><span lang="EN-US">And I think
theatre also brings us closer to those existential questions.<span style="mso-spacerun: yes;"> </span><b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Vivien:
<span style="mso-spacerun: yes;"> </span></span></b><span lang="EN-US">There’s
something really interesting about watching people grasp for tangible answers
or quantifiable things. And then the journey is asking people to realize that
we have to be ok with the unknown. There’s a parallel among all of those
stories. All of the people in those stories can’t fully grasp what they are
reaching for.<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
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<b><i>Stay tuned for part 2 of this interview coming next week!</i></b><br />
<b><i><br /></i></b></div>
<div class="MsoNormal">
<span lang="EN-US">Based on sold-out shows<i> Infinity</i> is back from March 22-April 2 for a limited time run at the Tarragon's Extraspace. <a href="http://www.tarragontheatre.com/show/infinity-2/" target="_blank">Click here</a> for tickets!</span></div>
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Anonymoushttp://www.blogger.com/profile/11011268221271187109noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-26586731349504762692017-01-26T12:57:00.000-08:002017-01-26T13:29:34.970-08:00Assistant director, Michela Sisti, interviews virtuoso violinist Andréa Tyniec who returns to the cast of Infinity as the mysterious figure in the white dress<div class="MsoNormal">
<span lang="EN-US"><i style="mso-bidi-font-style: normal;">Over the course of the play
Andrea plays a suite of solo violin pieces, written by composer Njo Kong Kie,
on her 1689 Baumgartner Stradivari (on loan by the Musical Instrument Bank of
the Canada Council for the Arts). <span style="mso-spacerun: yes;"> </span>I sat
down with Andréa last week and spoke to her about her process of working with
Kong Kie, her relationship to the music of the play, and her experience as a
performer in live theatre. <o:p></o:p></i></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Andréa,
you’ve been working very closely with Kong Kie on the interpretation of the
music he has written for <i style="mso-bidi-font-style: normal;">Infinity</i>. How
has your approach to playing Kong Kie’s music differed from how you would
approach the work of another composer?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Andréa:</span></b><span lang="EN-US"> It’s really amazing to work with a composer in person.<span style="mso-spacerun: yes;"> </span>One of the best things about playing
contemporary music is that you have that chance and you can ask the composer
questions.<span style="mso-spacerun: yes;"> </span>But also just by getting to
know them you can already sense or know what their their values are, what’s
really important to them.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">And also, you can see that what’s written
on the page may not necessarily be what the composer means – through no fault of
their own – but we’re just really restricted on the page. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">There was a lot that Kong Kie could tell me
when we were rehearsing. There was a certain aspect of rhythmical precision and
dynamic precision and tempo, which is really interesting because tempo is very
closely related to time. And Kong Kie’s very specific about tempo and how it
feels.<span style="mso-spacerun: yes;"> </span>So I think he was very well
chosen for this.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Kong Kie also worked really closely with
Ross so that the tempo really felt right. You know: how to take one scene and
send it into the next one.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">It was fun getting to know Kong Kie better
because I met him in 2010 in Banff. And we were just friends and I played a few
pieces of his back then. <span style="mso-spacerun: yes;"> </span>I had no idea
that I’d see him again or that I’d work with him.<span style="mso-spacerun: yes;"> </span>It was a nice surprise when I began <i style="mso-bidi-font-style: normal;">Infinity</i>: that I already knew him and
that we could take it from where we left off. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDEHVEI_1k-cmuaGE_IiEwlGdYgv2YeqZQrcmw7qmYT-_lZp9lh1wU0rtFGF6yOEEJk1gjpwwy6GDVMeAB0qdDPG-nRVpxsYbSGeYa2yeSNg1cIzJDTKatJnA5EDbFMBjooqjMq53G7l6Y/s1600/Screen+Shot+2017-01-26+at+12.48.37+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDEHVEI_1k-cmuaGE_IiEwlGdYgv2YeqZQrcmw7qmYT-_lZp9lh1wU0rtFGF6yOEEJk1gjpwwy6GDVMeAB0qdDPG-nRVpxsYbSGeYa2yeSNg1cIzJDTKatJnA5EDbFMBjooqjMq53G7l6Y/s400/Screen+Shot+2017-01-26+at+12.48.37+PM.png" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: x-small;">Kong Kie & Andréa during <i>Infinity's</i> reading at The Koffler Centre</span></b></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal">
<b style="font-size: 12pt;"><span lang="EN-US">From
knowing Kong Kie’s work from Banff, does the music that he wrote for<i> Infinity</i> feel familiar to you in some
way? Or do you feel there is something different at work in this suite?</span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Andréa:</span></b><span lang="EN-US"> I think he writes with a lot of integrity, so there is an essence
to Kong Kie that stays. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">There’s a certain attraction to these
repetitive motions with a certain – I don’t want to say off-beatness – but it’s
a repetitive sequence that’s a little unpredictable.<span style="mso-spacerun: yes;"> </span>That existed already in the beginning when I
encountered his music in Banff.<span style="mso-spacerun: yes;"> </span>And that
stayed with the music of <i style="mso-bidi-font-style: normal;">Infinity</i>. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">But, at the same time, I think he was very
flexible within that integrity to write for the play.<span style="mso-spacerun: yes;"> </span>He was there from the start, thinking about
the characters and about what the music should be doing and the mood that he
should be setting. So I think, yes, he has that integrity but also that
flexibility. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Do
you have a favourite section? <o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Andréa:</span></b><span lang="EN-US"> Yeah, I really like “Milk”.<span style="mso-spacerun: yes;">
</span>That’s when Sarah Jean comes in with the violin case. I think it is the
most beautifully written piece for that particular emotion where Carmen and
Elliot just really love each other, but there’s so much underlying tension. And
there is forwardness life, a relentless forwardness.<span style="mso-spacerun: yes;"> </span>And knowing that you just cannot make up
time. It’s just a great piece: beautifully and very intelligently written.<span style="mso-spacerun: yes;"> </span>I like playing it every night. <span style="mso-spacerun: yes;"> </span>I like playing everything every night, but
that’s my thing!<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">And also the end!<span style="mso-spacerun: yes;"> </span>If I allow myself it’s very brutal. <span style="mso-spacerun: yes;"> </span>Because I think of parents – my parents, but
also all parents – and the very real struggle to communicate that they love
each other when they have children and they’re so busy and they have so many
different struggles.<span style="mso-spacerun: yes;"> </span>I think of all
parents and those harmonics and the theme at the end are really haunting and
beautiful.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpAhMXrKEJanHO7egCKrFG5dOydX8zayB0rKoFZkiJW4q4MXrcJojx_gDb4ObxCqQ4Fs5fzD3GT3DhY-0_dXbE87EXxFoveyqFezFHa3mgNbqAzgLNNDjf61IJjpZaU1b70QdV2Q2elO2u/s1600/Screen+Shot+2017-01-26+at+12.45.34+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpAhMXrKEJanHO7egCKrFG5dOydX8zayB0rKoFZkiJW4q4MXrcJojx_gDb4ObxCqQ4Fs5fzD3GT3DhY-0_dXbE87EXxFoveyqFezFHa3mgNbqAzgLNNDjf61IJjpZaU1b70QdV2Q2elO2u/s400/Screen+Shot+2017-01-26+at+12.45.34+PM.png" width="253" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-size: x-small;">Andréa performs in <i>Infinity</i></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Michela:
At the beginning of the play Elliot says he likes musicians because they have a
sense of what time is: that it doesn’t exist and that it slides. I’m wondering
whether that resonates with you at all?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Andréa:</span></b><span lang="EN-US"> It’s funny, I was a little bit like Carmen in the play. I was like,
<span style="mso-spacerun: yes;"> </span>“I don’t use time-keeping terminology!”<span style="mso-spacerun: yes;"> </span>And I guess I do, but I think we just don’t
realize if it’s more than other people. We’re not necessarily aware of it. <span style="mso-spacerun: yes;"> </span>But we do have a sense of timing. I mean
that’s where expression lives. The expression lives in the timing. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Final
question! How does the experience of playing a concert compare to the experience of
playing your violin in a piece of theatre?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Andréa:</span></b><span lang="EN-US"> It’s so different! Because – and this is one of the things made me
fall in love with the theatre – in theatre the audience is expected to be free
in their reactions. And every night in the theatre you can feel the audience.
The audience is composed of individuals, but it has a sort of unity to it – it’s
almost like a person every night<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">You know, it’s like that also in concerts,
but you don’t get to feel it to the extent that you feel it in theatre.<span style="mso-spacerun: yes;"> </span>In concerts the audience is expected to be
silent and still and quiet and that’s what we appreciate.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<div class="MsoNormal">
<span lang="EN-US">So playing in theatre was super because
when I go to my concerts I realize it’s the same. <span style="mso-spacerun: yes;"> </span>I bring that proximity to the audience – now
that I know they’re there. And they stay closer to me now.<span style="mso-spacerun: yes;"> </span>This is the gift of theatre actually.<o:p></o:p></span></div>
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<span lang="EN-US"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US"><b style="font-family: Times;"><i>Infinity</i> closes on Jan 29th. <a href="http://www.tarragontheatre.com/show/infinity-2/" target="_blank">Book your tickets now!</a></b></span></div>
Anonymoushttp://www.blogger.com/profile/11011268221271187109noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-44781222628347884002017-01-19T11:42:00.000-08:002017-01-23T06:09:56.915-08:00Infinity's Assistant Director, Michela Sisti, talks about the challenges of staging the past & future on the same stage<div class="MsoNoSpacing">
<span lang="EN-US"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">How can you make the past and future
exist at the same time on stage? (And
not confuse the life out of people!) <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-US"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">This is one of the most exciting staging
challenges presented by Hannah Moscovitch’s <i style="mso-bidi-font-style: normal;">Infinity</i>,
a play that both interweaves and overlaps moments from the 1990s and 2017 in
order to tell its story of love and loss in the lives of a family unit. <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-US"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">One way is to populate the stage of <i style="mso-bidi-font-style: normal;">Infinity</i> with objects that outlast the
lives of the characters in the play and remain in the Green family household
across a period of years. <o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">The Director, Ross Manson, has chosen to work with the visual
motif of cardboard boxes, which evokes ideas of storage and baggage. These
boxes are personal time capsules that become both objects of mystery as well as
burdens to the characters in the play.
Elliot uses boxes to store his bottomless stockpile of physics
calculations. Years later, these same
boxes are being sorted and sifted through by his daughter, Sarah Jean who is
burdened with the task of packing up her parents’ empty house. Ross has staged
a subtle moment in which the Sarah Jean of 2017 drops a file into a box and
Elliot scoops it up the instant after it makes contact with the floor of the
box. Neither character sees the other. Elliot and Sarah Jean are ghosts to each other,
trapped in different times. <o:p></o:p></span></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKg6RpYv-DrRQX6SK_jkjyc1rjrha_KtgcbCOB_N0RQLzEJSkCgMMsBBcW3Izkt6UFNukWMv0wJNVWL5wepSMQiAYBG_Mni8QWb9Arwfxq7q9X2iPdbRsZjhUJX7L0C_AHfuqDSWeopjkw/s1600/Paul+Braunstein.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKg6RpYv-DrRQX6SK_jkjyc1rjrha_KtgcbCOB_N0RQLzEJSkCgMMsBBcW3Izkt6UFNukWMv0wJNVWL5wepSMQiAYBG_Mni8QWb9Arwfxq7q9X2iPdbRsZjhUJX7L0C_AHfuqDSWeopjkw/s400/Paul+Braunstein.png" width="400" /></span></a></div>
<div style="clear: both; text-align: center;">
<b><span style="font-family: "times" , "times new roman" , serif;">Elliot, played by Paul Braunstein, checking his physics notes</span></b></div>
<div style="clear: both; text-align: center;">
<b><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></b></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">The company discovered in rehearsal that
one way to avoid visual confusion during these moments of superimposed
timelines is to juxtapose the energies of the characters that inhabit past and
future. So during the ‘Insomnia’
sequence Sarah Jean drifts through the kitchen like a sleepwalker and picks up
her father’s old notes with the vagueness of a person lost in thought. In
contrast, Elliot moves at a fast, urgent tempo as he storms from one box of
files to another. Normally, if there are
two people inhabiting the same space the energy of one person in a space will
influence the energy of the other. But in this staging, there is no cause and
effect: it is clear these characters are occupying different worlds.</span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-US"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">What’s exciting is that once the
convention of past and future sharing one space is set up a director is then
able to play with that convention.<span style="mso-spacerun: yes;"> </span>In
Ross’s staging, it slowly becomes apparent that the Carmen & Elliot scenes
are, in fact, memories of the adult Sarah Jean of 2017. Ross accomplishes this
in his staging by using the gaze of Sarah Jean. <o:p></o:p></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-US"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">During the transition from Acts 1 to Act
2, something strange happens on stage: the adult Sarah Jean suddenly turns
around and <i style="mso-bidi-font-style: normal;">watches</i> her mother helping
Elliot undress and get into his hospital bed in 1999.<span style="mso-spacerun: yes;"> </span>Ross places Sarah Jean downstage centre, so
when she turns around to look at her parents, we see her back: SJ has become an
audience member like us, and a critical observer to the action in front of her.
In order to strengthen the impression that this is a memory being observed,
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Carmen and Elliot as she treads around the perimeter of the scene, her tempo once
again different than the tempo of<i style="mso-bidi-font-style: normal;"> </i>1999.<o:p></o:p></span></span></div>
<div class="MsoNoSpacing">
<span lang="EN-US"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWhud9H1icQJa6W_ZlrVC2Ml1g2gwaKlR3tbc_zGYnX1E6aQCJhs06z8EvmPqAp46fjl-erO0WVXwM2ui26wbtKUasewEEET3ycqHH4uD2howU_hZhK17trSs__mZcOWlAnYwV-GLcNhI2/s1600/insomnia+sequence.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWhud9H1icQJa6W_ZlrVC2Ml1g2gwaKlR3tbc_zGYnX1E6aQCJhs06z8EvmPqAp46fjl-erO0WVXwM2ui26wbtKUasewEEET3ycqHH4uD2howU_hZhK17trSs__mZcOWlAnYwV-GLcNhI2/s400/insomnia+sequence.png" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-family: "times" , "times new roman" , serif;">The dance in Infinity, choreographed by Kate Alton</span></b></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-US"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Something else the Volcano team has
discovered in rehearsals is that the closer Sarah Jean gets to the crux of her
“fucked-up-ness” about love, the deeper she travels into the memories of her
parents, and the stranger the theatrical laws governing <i style="mso-bidi-font-style: normal;">past</i> and<i style="mso-bidi-font-style: normal;"> future </i>become.<span style="mso-spacerun: yes;"> </span>One convention this production relies
heavily on is the ability of Vivien Endicott-Douglas (who plays SJ) to switch
her body language from that of an eight-year old to that of a woman in her
twenties as story toggles between past and future.<span style="mso-spacerun: yes;"> </span>However, late in Act 2, as Carmen confides
to young Sarah Jean that her biggest regret is not leaving Elliot, Sarah Jean
retains the body language of her adult self. This creates the implication that
the world-view Carmen implanted in her eight-year-old daughter is now deeply
lodged in the adult Sarah Jean and is governing her life.</span></span></div>
<div class="MsoNoSpacing">
<span lang="EN-US"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></span></div>
<div class="MsoNoSpacing">
<span lang="EN-US"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><o:p></o:p></span></span></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: "times" , "times new roman" , serif; font-size: large;">By pitting moments from these two
different eras next to each other, Hannah Moscovitch endows us, the audience,
with the role of critical observers. We are given the power to make comparisons
between what we see playing out in front of us and witness how ideas are passed
down from one generation to another</span><span style="color: #943634; font-family: "times" , "times new roman" , serif; font-size: large;">. </span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-US"><span style="font-family: "times" , "times new roman" , serif; font-size: large;">With this distance from our normal human
experience of time – which we are so entirely submersed in – we are able to see
that something that seems like a fixed law of the universe to one character, is
in fact <i style="mso-bidi-font-style: normal;">changeable</i>, <i style="mso-bidi-font-style: normal;">open </i>to<i style="mso-bidi-font-style: normal;"> questions</i>, and part of a much much larger story...<o:p></o:p></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span lang="EN-US"><o:p><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><br /></span></o:p></span></div>
<div class="MsoNoSpacing">
<span lang="EN-US"><o:p><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><a href="http://www.volcano.ca/infinity/" target="_blank"><i>Infinity</i></a> runs until Jan 29th at Tarragon Theatre. Tickets <a href="http://www.tarragontheatre.com/show/infinity-2/" target="_blank">available here</a>!</span></o:p></span></div>
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Anonymoushttp://www.blogger.com/profile/11011268221271187109noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-79155728305222623422017-01-09T10:14:00.000-08:002017-01-09T10:16:39.237-08:00Infinity's Assistant Director, Michela Sisti, takes us behind the scenes of the play's remount and shares insights from working with the cast and crew throughout the rehearsal journey<h2 style="text-align: center;">
<b style="font-family: Cambria; font-size: 12pt;">Week 1</b></h2>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Winter is the perfect time of year to work
on a play about love, death and time. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Bright landscapes of glittering snow banks
unfold for you on your way to rehearsal. Dark evenings greet you when you step
outside at the end of the day. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">In one short week we’ve gone from initial
table read of Hannah Moscovitch’s script to a full out run of the play. On the
other end of those five days it now feels as if we’ve already lived through
several lives. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Amy Rutherford (Carmen) and Paul Braunstein
(Elliot), returning cast members who performed in the original production of <i style="mso-bidi-font-style: normal;"><a href="http://www.volcano.ca/infinity" target="_blank">Infinity</a></i> in 2015, have had to wade back
into the membranes of old ghosts. <span style="mso-spacerun: yes;"> </span>They’ve
been joined by new cast member Vivien </span><span style="mso-ansi-language: EN-CA;">Endicott-Douglas (Sarah Jean), whose presence is incidentally throwing a
pretty awesome ‘alternate-universe’ factor into the story-world of the <i style="mso-bidi-font-style: normal;">Infinity </i>rehearsal room. </span><span lang="EN-US"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFzB4v3dF3PAlGEYP7eBghw7ie9YTFQcesnwWivya-EcanXiWXc3ZnQDc6zuLY3LM0Gy7U583R16B_4jASD2_N-IJ1OfAyRTz8YZpDHQZpjsO7zvNjviVqTXMOk1Lpb2Ha4mtBJSRLfgE9/s1600/FullSizeRender.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFzB4v3dF3PAlGEYP7eBghw7ie9YTFQcesnwWivya-EcanXiWXc3ZnQDc6zuLY3LM0Gy7U583R16B_4jASD2_N-IJ1OfAyRTz8YZpDHQZpjsO7zvNjviVqTXMOk1Lpb2Ha4mtBJSRLfgE9/s400/FullSizeRender.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span lang="EN-US"><span style="font-size: x-small;"><b>Amy Rutherford plays Carmen Green & Paul Braunstein plays Elliot Green</b></span></span></div>
<div class="MsoNormal">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Director Ross Manson is approaching Hannah’s play
with some new thoughts this time round and Hannah herself has done some
rewriting. She has created more of a presence for the character of Carmen and
her music in the play.<span style="mso-spacerun: yes;"> </span>The epiphany
Elliot has about his own life is now more closely linked with the way he
perceives the role of time in the universe.<span style="mso-spacerun: yes;">
</span>Music and physics are, for each of these characters, different ways of
expressing the universe, and so for our purposes these things also become
expressions of the characters themselves. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Ross started off the week with two sessions
devoted to physical character work. <span style="mso-spacerun: yes;"> </span>He
offered the idea that a performer knows more about their character after a
first reading of a play than they think they know, but they can’t get at this
knowledge through table work; the knowledge is in the body.<span style="mso-spacerun: yes;"> </span>The “corridor exercise”, which Ross and the
cast began with, is durational work that is done in silence. Its purpose is to
engage a performer’s intuitive knowledge. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">The actor is given a narrow corridor of
space to explore in. <span style="mso-spacerun: yes;"> </span>They begin with a
limited vocabulary to work with: <i style="mso-bidi-font-style: normal;">start,
stop</i> and <i style="mso-bidi-font-style: normal;">change levels</i>. As time
goes on, the facilitator of the exercise layers on more vocabulary in the form
of verbs. For example: reach, balance, carve, stumble, dance. <span style="mso-spacerun: yes;"> </span>The actor’s task is simply to explore these
movements, completely free from the pressure to perform or to assume a
character. There is no need to manufacture anything. Some of these movements
may naturally begin to inform character physicality or create a shorthand vocabulary
for the upcoming scene work. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Next, Ross guided the cast through the
creation of three archetypal gestures for their respective characters. A
gesture is a combination of a physical movement and something that is
vocalized. It has a beginning, a middle and an end, and its final picture is a
motionless sculpture.<span style="mso-spacerun: yes;"> </span>Once first
versions of these gestures are created they can continue to be shaped and honed
until they <i style="mso-bidi-font-style: normal;">work</i> for that particular
character. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">So, for instance, Ross asked Vivien to play
with her gesture for Sarah Jean’s <i style="mso-bidi-font-style: normal;">The
Judge</i> archetype (it involved pushing some invisible thing away and to the
side, while speaking the word, ‘loser!’) by making the gesture larger, then by
making it smaller and more naturalistic, then by taking away the text. <span style="mso-spacerun: yes;"> </span>Kate Alton later integrated a version of Sarah
Jean’s gesture into the choreographed dance that happens midway through <i style="mso-bidi-font-style: normal;">Infinity</i>.<span style="mso-spacerun: yes;"> </span>This gesture was then changed almost entirely
by Ross so that it became something that more closely resembled trying to
resist a rising flood of water – the steady push quality of the movement
remained in tact but the meaning it suggested had transformed. <o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCn-OE_UNvokYY1xP_6gTKNnT1VZGV0IMG9gjvWXjUN_lHymcSNiLVGFlU8bUM1d3QF0C8XEFOtP5-5_DCKwt8z73AJsf7UHWOLHZPRx3FCFNPS7Wkx-ODsRofIDmLuHYHAkcAzGghGj4t/s1600/Screen+Shot+2017-01-09+at+11.14.21+AM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCn-OE_UNvokYY1xP_6gTKNnT1VZGV0IMG9gjvWXjUN_lHymcSNiLVGFlU8bUM1d3QF0C8XEFOtP5-5_DCKwt8z73AJsf7UHWOLHZPRx3FCFNPS7Wkx-ODsRofIDmLuHYHAkcAzGghGj4t/s400/Screen+Shot+2017-01-09+at+11.14.21+AM.png" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;"><b>Vivien Endicott-Douglas plays the role of Sarah Jean Green</b></span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Good gestural movements, Ross explained,
work best when they are just out of the audience’s reach, but not too far that
the audience feels alienated. <span style="mso-spacerun: yes;"> </span>A good gesture
can give us a visceral insight into the psychological and emotional world of a
character while also creating the space for poetry to happen and all that which
eludes us about other people.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Gesture is also a very real part of human
behaviour. Ross had once watched a documentary about two Canadian WW2 veterans who
returned to the beaches of Normandy they for the first time since the end of
the war.<span style="mso-spacerun: yes;"> </span>With utter composure and an
unnervingly easy conversational tone, these men gave the film crew a tour of
the events that had transpired on the beach at D-Day.<span style="mso-spacerun: yes;"> </span>So something like: <i style="mso-bidi-font-style: normal;">We opened fire here. Tommy died over there.</i> (Not a waver in the
voice.) <i style="mso-bidi-font-style: normal;">Then we lost Doug here.</i> (No
trace of any tear, not even that elusive glint in the eye that movies have
trained us to look for, not a muscle twitch that could evoke a the voice of lone
trumpet sounding somewhere in the distance.) If the filmmakers were looking for
catharsis on this beach they wouldn’t find it here. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Later the documentary picks up with the veterans continuing
their interview on the road. The old site of carnage is miles and miles behind
them and the conversation is as light and easy as ever.<span style="mso-spacerun: yes;"> </span>Then in mid-sentence one of the men suddenly
freezes, his breath caught in his throat, his mouth trembling like a baby
bird’s, one frail hand flapping wildly at his throat.<span style="mso-spacerun: yes;"> </span>In one swift moment his body is overwhelmed
by emotion, which has been released as if through a steam valve under immense
pressure. This, said Ross, is real people dealing with emotion. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span style="mso-spacerun: yes;"> </span>Infinity</span></i><span lang="EN-US"> is a play
in which love does not go well and death does not go well, either.<span style="mso-spacerun: yes;"> </span>As such, Ross is taking care to resist
creating moments of tidiness or sentimentality within the scenes he is staging.<span style="mso-spacerun: yes;"> </span>“Real people under emotional pressure react
inappropriately,” has become something like a mantra by the end of our first
week.<span style="mso-spacerun: yes;"> </span>So, Sarah Jean, who is not an
integrated human until the last beat of the play, minimizes and makes jokes out
of moments of trauma in her life. The staging of the hospital scene, which we
worked on this Friday, aims to tell a story of disconnect and<span style="mso-spacerun: yes;"> </span>- to use the vocabulary of the play – ‘fucked-up-ness’,
rather than offering emotional catharsis and closure. <span style="mso-spacerun: yes;"> </span>Gesture is an important tool actors can use to
suppress, channel, contain or divert emotion that would otherwise spill out
onto the surface of a character. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">At the end of this Friday’s run, Paul
looked up from some kind of trance said to the room at large, “I understand why
I goof off so much in these rehearsals. When you are actually in the ride it’s <i style="mso-bidi-font-style: normal;">a lot.</i>”<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
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<span lang="EN-US"><o:p> <i>Infinity </i>runs Jan 4-29 at <a href="http://www.tarragontheatre.com/show/infinity-2/" target="_blank">Tarragon's Extraspace</a>. For details and tickets <a href="http://www.volcano.ca/infinity/" target="_blank">click here</a>.</o:p></span></div>
Anonymoushttp://www.blogger.com/profile/11011268221271187109noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-30345915442401367592016-12-21T08:02:00.000-08:002017-01-27T08:16:27.847-08:00Infinity's Dora award-winning playwright, Hannah Moscovitch, shares insight about her creative process and why this remount will be different from the premiere.<h2 style="clear: both; text-align: justify;">
<b style="text-align: left;">With the rehearsals of <i><a href="http://www.volcano.ca/infinity/" target="_blank">Infinity</a></i> officially underway Hannah Moscovitch took a moment to reflect on the creation of the play and the the breathtaking new writing which she has crafted for the script.</b></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiZVmKcd0ncmE7qr2cj5SlarX5nEqPZCxnJI6rvVh1tOLF4PYy8elxhZrjou-yqGEsnKY51OWSFUUj6n_YvMRzl-T6O9PItFS5xNvEwDRhyVuRarvaH4ovLp4EQNWXdUw_y_QwxFXT07Yi/s1600/Hannah.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiZVmKcd0ncmE7qr2cj5SlarX5nEqPZCxnJI6rvVh1tOLF4PYy8elxhZrjou-yqGEsnKY51OWSFUUj6n_YvMRzl-T6O9PItFS5xNvEwDRhyVuRarvaH4ovLp4EQNWXdUw_y_QwxFXT07Yi/s400/Hannah.jpg" width="400" /></a></div>
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<span style="font-size: x-small;"><b>Hannah Moscovitch won the Dora Mavor Moore award </b><b>for Outstanding New Play for <i>Infinity</i></b></span></div>
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<span lang="EN-US" style="font-family: "calibri"; font-size: 14.0pt;"><b>Q: What inspired Infinity?</b><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri"; font-size: 14.0pt;">Research! Ross
Manson commissioned me to write this play in 2008, and the talks we had then
helped me to form the initial ideas for the play. </span><span style="font-family: "calibri"; font-size: 18.6667px;">I then worked with Lee Smolin’s theories, he’s the consulting theoretical physicist on the project.</span><span style="font-family: "calibri"; font-size: 14pt;"> I also worked my personal
relationship to time and death into the text.</span></div>
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<span lang="EN-US" style="font-family: "calibri"; font-size: 14.0pt;"><b>Q: What issues were you trying to bring to the
forefront by writing this play?</b><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri"; font-size: 14.0pt;">I was interested in how habits of thought and
behaviour echo down through generations. I wanted to create a project that condensed
time and showed you, the audience, a significant portion of a romance between
two people who were good people but terrible when together. I wanted to write about
unreality, and how modernity has called into question so many of our cherished
notions. I was also interested in how death intensifies our relationship to our
families, legacy and time.<span style="mso-spacerun: yes;"> </span>And I wanted
to write, as I always do, complicated characters in the throws of a psychic
shift. This makes the play sounds very cerebral: talking about the themes
usually does that with my texts. As a writer, I like big ideas, but I want
there to be big emotions in my pieces as well. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri"; font-size: 14.0pt;"><b>Q: When you look at the play now almost 2 years on,
is there anything you would change?</b><o:p></o:p></span></div>
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<b><span style="font-size: x-small;">Paul Braunstein, Amy Rutherford & </span></b></div>
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<b><span style="font-size: x-small;">Andréa Tyniec (violinist) </span></b><b><span style="font-size: x-small;">in </span><i><span style="font-size: x-small;">Infinity</span> </i></b></div>
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<span lang="EN-US" style="font-family: "calibri"; font-size: 14.0pt;">Ross and I have been emailing back and forwards
these past few days, working around naps and nannies because we both have toddlers, about our
revisions to the text. I love remounts, they allow me to finesse the text in a
way you often can’t on a premiere, because when you’re putting it all up the
first time you don’t know yet how all the elements (text, design, choreography,
composition, performance) will come together. On a remount and tour you can go
deeper, clearer (or more clearly ambiguous!) So anything I would change, I am
changing.<span style="mso-spacerun: yes;"> </span></span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "calibri"; font-size: 14.0pt;"><span style="mso-spacerun: yes;"><br /></span></span></div>
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<span lang="EN-US"><span style="font-family: "calibri";"><span style="font-size: 18.6667px;"><i>Infinity</i></span></span><span style="font-family: "calibri"; font-size: 14pt;"> runs Jan 4-29 at <a href="http://www.tarragontheatre.com/show/infinity-2/" target="_blank">Tarragon's Extraspace</a>. For details and tickets <a href="http://www.volcano.ca/infinity/" target="_blank">click here</a>.</span></span></div>
Anonymoushttp://www.blogger.com/profile/11011268221271187109noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-87609523267698105442016-12-13T08:56:00.002-08:002016-12-13T08:56:44.413-08:00Composer extraordinaire Njo Kong Kie and virtuoso violinist Andréa Tyniec reflect on creating and performing the music for Infinity<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;"><b>The Dora award-winning play <i><a href="http://www.volcano.ca/infinity/" target="_blank">Infinity</a></i> returns to the <a href="http://www.tarragontheatre.com/show/infinity-2/" target="_blank">Tarragon's Extraspace</a> (Jan 4-29) by popular demand. <i>Infinity</i> features an original score by world class composer <a href="http://musicpicnic.com/" target="_blank">Njo Kong Kie</a> which is performed by the virtuosic violinist <a href="http://www.andreatyniec.ca/" target="_blank">Andréa Tyniec</a>. Both artists share with us their experience of creating the score and performing it.</b></span></div>
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<span style="font-family: Helvetica;"><b><br /></b></span><span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;"><b></b></span></div>
<div class="separator" style="clear: both; text-align: center;">
<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitM4T_fkW3vaJFgWknXAoakKPYCje0uPcoN3VdLCpKxxioRgLn3nStXxk5pHieirNoN614155LIPSzH75wsVbbmu2632OQWUMK18tZAyydMQyFx6aQZ36fCWDIkMxZ87u4ZzqwRl_Q9akL/s1600/KK+headshot+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: right;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitM4T_fkW3vaJFgWknXAoakKPYCje0uPcoN3VdLCpKxxioRgLn3nStXxk5pHieirNoN614155LIPSzH75wsVbbmu2632OQWUMK18tZAyydMQyFx6aQZ36fCWDIkMxZ87u4ZzqwRl_Q9akL/s400/KK+headshot+1.jpg" width="400" /></a></b></div>
<div style="clear: both; text-align: center;">
<b><span style="font-size: x-small;">Njo Kong Kie composed the music for <i>Infinity</i></span></b></div>
<br />
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<b>Q: Kong Kie can you tell us a little about how you first came to be involved in the making of <i>Infinity</i>? </b></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;">A: Quite a few years ago, before Ross even knew me, I gave him a CD of
mine, <i>Picnic in the Cemetery,</i> but thought no more of it as I didn't
hear back from him for at least a couple of years. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;">During that time we did run into each other regularly in industry
events and during one of these he told me he was going to be in Montreal so I
invited him to attend a dance piece I scored for Anne Plamondon in the city at
that time. I think that jogged his memory about the CD I gave him because shortly
after, he invited me to come on board with <i>Infinity</i>. He thought the
music in the album had the feel appropriate for the play and there was a
particular tune from the album, <i>Formula 1</i>, which he asked me to incorporate
into the soundtrack. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;"><o:p><b>Q: Tell us a little bit about your creative process and how you went about designing the score.</b></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;"><o:p><br /></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;">A: Before the scoring could begin, we first had to figure out what the
instrumentation would be. We went from having one string instruments representing each of the characters to just a solo violin. Since touring
the show was always the plan, it makes sense to reduce the size of the
orchestra, both numerically and physically, but it also allows us to give a
voice to Carmen, to highlight and reflect her character a little fuller through
music. Something that was not explicitly told to the audience, but nonetheless
informed my design of the score was that the music we hear in the show is her
composition - early works that she let Elliott listen to. As it turns out,
he really liked them and in fact listened to them often which was something that surprised her. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;">Once we decided on the instrumentation, I set off writing a piece
based on <i>Formula 1</i>. At the time Ross said that he liked the fact that the musical
structure of the work while quite precise is nonetheless rather lopsided so
I kept that in the new work I created. And the motif of this piece recurs quite
a few times throughout the play, so it may be something to watch for. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;">At the same time, I wrote a short contrasting piece so that we had
something different to work with. I was away at the time, so I just emailed Ross
and Andréa the score and they went with it during rehearsal. I was happy to
hear via email that the pieces worked well. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;">There were a few more workshops along the way and each time I would
write a little more, and test the music out with the whole team. All design decisions
were made gradually over time, as we explored Hannah's text and as she
made revisions based on discoveries which took place during the workshops and rehearsals adjustments were made to reflect that in the music. We just kept refining the work as we
went along. There were some negotiations somewhere in terms of how
the music could be used, or where, or some editing challenges, but the process
was very organic and never felt forced. We just developed the work a little bit
at a time and fit the various pieces of the puzzle together. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;"><b>Q: What were you trying to evoke with your
music?</b><o:p></o:p></span></div>
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<b style="font-family: Helvetica; font-size: small;">Kong Kie & Andréa during the 2014 workshop</b></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;">As mentioned, the music is supposed to be Carmen's compositions. I
imagined these to be early works, perhaps improvisations she made on the violin
while she was practising and so I was trying to imagine what she would be like
in her early days as a composer, and what her music would be like if she was
just doodling. These short pieces are meant to have a kind of impromptu
character to them. I am not sure if she ever reworked them, some yes others perhaps not, I don't think she would have laboured over them too much, even
though I did in order to make them sound like she didn't!<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;">On a theatrical level, the music also needs to underline the
dramatic situation of each scene, so I kept that in mind as I worked on the music. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;">Another design element is that the entire score is based on a few
musical motifs; and that there is a piece whose construction is based on a
mathematical number. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;">For the audience member who enjoys playing listening games, see if you can
notice these elements. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;">Furthermore, since both Carmen and Sarah Jean are virtuoso players,
the score needed to put some demand on the player. We are lucky to have Andréa
in the show, it is an absolute treat to work with her and for the audience to listen to. It is
an absolute treat. Andréa is such a fantastic player and collaborator. She
helped me so much in terms of finding the right technical approach to achieve
the kind of sound we needed.</span></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;">I also feel lucky to have a director like Ross who cares deeply
about the integrity of the musical score, he really tried to use each work I
proposed in its entirety as much as possible. Of course, I tried not to give
him music that lasts 10 min at a time because there would be no dramaturgical
reason for it in this context, but we managed to put in a few pieces that last two, or three minutes. During this process I was able to write a substantial amount of music for
the show and that is very satisfying for me and I hope for the audience as
well.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;"><b>Q: Andréa, how does it feel playing Kong Kie’s composition?</b><o:p></o:p></span></div>
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<span style="font-size: x-small;"><b>Andréa Tyniec performs in <i>Infinity</i></b></span></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;">I met Kong Kie in 2010 and played some of his works during a
residency we both did at the Banff Centre. Back then, I had no idea that we'd
be working together in this way and it's been really interesting to see his
compositions take shape during rehearsals for Infinity. I feel they evoke the bigger
themes in the play, most of all Time, and because they were created in such
close connection to the characters and their journey, it's always a powerful
experience for me to perform in <i>Infinity</i>. </span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Helvetica; mso-bidi-font-family: Helvetica;"><b><i>Infinity</i> runs Jan 4-29 at <a href="http://www.tarragontheatre.com/show/infinity-2/" target="_blank">Tarragon's Extraspace</a>. For details and tickets <a href="http://www.volcano.ca/infinity/" target="_blank">click here</a>.</b></span></div>
Anonymoushttp://www.blogger.com/profile/11011268221271187109noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-33176148552742006212016-06-30T09:40:00.001-07:002016-07-04T10:51:01.949-07:00Q & A with Kim Collier<h3>
Kim Collier is a Director, Creator, Teacher, Actress and the co-founder of <a href="http://www.electriccompanytheatre.com/" target="_blank">Electric Company Theatre </a>where she was Artistic Producer for 15 years. She loves site-specific work has a vast array of large-scale, site specific works. Kim is the recipient of the prestigious Elinore & Lou Siminovitch Prize for Directing; 4 Jessie Richardson Awards and a Sterling Award for Direction and with Electric Company, 3 Jessie Awards for writing and numerous innovation awards. She is a Graduate of Studio 58 as an Actress. Kim brings her passion for site-specific theatre to the 2016 Volcano Conservatory, teaching "Site-Specific Performance Creation" July 25-29 at The Theatre Centre.</h3>
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<tr><td class="tr-caption" style="text-align: center;">Kim Collier<br /></td></tr>
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<b>Q: Why are you so attracted to site-specific performance?</b><br />
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<span class="s1">A: I love site-specific work for a number of reasons. It breaks down the institutional barrier between the audience and the performer. It is a way to bring theatre to the people and meet them in a place where they may feel more comfortable or excited to join in. Live arts in sites transforms how we view an everyday space and creates meaning and a sense of event. When rehearsing in a site-specific place you often get curious public walking by and before your know it, they are signing up to come back to see the show. I believe in creating community, and I feel site-specific work has some real tangible results in connecting community to artists and expression.</span></div>
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<span class="s1">I also love site-specific work because, if done well, it's so theatrical. A site stimulates the artists' mind to imagine in all kinds of surprising ways. I think surprise is a great word. Surprise in the theatre or live performing arts is <i>gold</i>. We all want to experience something new, something fresh, something alive. There is an 'aliveness' to site-specific work.</span></div>
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<span class="s1">However, some artists impose a piece of theatre or art into a space. Can the performance answer the question "Why is this work in this location?" If not, I think it has failed to be site-specific. You often see this: a normal stage play set under a bridge (for example), with no adjustment for the space. I would not call this site-specific; I would call this a play set under a bridge.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Kim working with her 2015 Conservatory class.</td></tr>
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<span class="s1"><b>Q: What will you be exploring in your Volcano Conservatory workshop? </b></span></div>
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<span class="s1">A: What I want to explore in the workshop is thinking big and being immersive with sites, to dive deeply into the creative potential of a space, and to push ourselves to create work in a short amount of time into sites collectively. </span>Spaces can tell you what stories they want to tell. You can follow the site. </div>
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<span class="s1"><br class="Apple-interchange-newline" />My work at Electric Company on several occasions mined sites for stories. One example is: <i>The Wake</i>. </span>For this play we toured around Vancouver looking for a site with great creative / staging potential. This site was near a community centre where we gathered our audiences, and from there the performance proceeded along False Creek Inlet, passing by a tennis court, a factory, docks and bridges, etc. We loved the site; so then we began to create our show from researching the history of that land. It had been a First Nations burial sight, then owned by the CPR and then an ammunitions factory for WW2. There were great characters in this history and points of conflict. We used this history and the layout of the land to create a play in eleven locations.</div>
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<span class="s1"><b>Q: Who should take your class? Why?</b></span></div>
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<span class="s1">A: Directors, actors, creators, designers…really anyone making theatre or live art. You should take this course to exercise your creative mind, to gather skills in creation, to know how to prep for the challenges of sites as a Theatre Maker / Producer, to widen your imagination and ambition as to what is possible in site-specific theatre making, and to benefit from a safe work environment to take risks and play as a creative artist making work in a collaborative, mutually supportive setting.</span></div>
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<i>Kim Collier teaches Site-Specific Performance Creation at the 2016 Volcano Conservatory, July 25-29, 2016 at The Theatre Centre. Space is limited, so <a href="http://volcano.ca/education/the-volcano-conservatory/#registration" target="_blank">register now</a>!</i></div>
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Volcano Theatrehttp://www.blogger.com/profile/05842981636478085003noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-44382421552058579072016-06-28T12:20:00.000-07:002016-06-28T12:37:17.843-07:00Q & A with Deborah Pearson<h3>
Deborah Pearson is founder and one third of the award winning UK-based arts collective<a href="http://www.forestfringe.co.uk/" target="_blank"> Forest Fringe</a>. In Toronto she most recently showed a work-in-progress of <i><a href="http://thisisprogress.ca/2015/11/history-history-history/" target="_blank">History History History</a></i> at the Progress Festival, and co-created the immersive dance piece <i>The Queen West Project</i> with Allison Cummings in 2012. In 2009 and 2016 she and her Forest Fringe co-directors were named in the Stage 100 list of the 100 most influential people working in UK theatre. She is an associate artist with Volcano, and recently submitted a practice-based PhD on narrative in contemporary performance at Royal Holloway, where she was a Reid scholar. Deborah is co-creator of Volcano's experimental performance lab, <a href="http://volcano.ca/education/informing-content/" target="_blank">inFORMING CONTENT. </a>Much of Deborah's own artistic work blurs the lines between reality and fiction, and in her 2016 Volcano Conservatory class "Playing with the Real: Approaches to Non-Fictional Theatre" she will push her students to explore 'truth' on stage. </h3>
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<b>Q: What is "Playing with the Real"?</b><br />
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"Playing with the Real" is a course about collaborating and negotiating with “the real” in theatre. "The Real" or "Non-fiction" is about moving us out of a frame of mind where we take fictional characters and settings for granted as being a default-setting for theatre. I'm interested in having us explore theatre that attempts to tell no lies, and when it is lying, is honest about it. The course will be split up into “real people”, “real places” and “real time." We will spend time focusing on either playing yourself on stage or working with performers (or non-performers) who are playing themselves on stage, and on including content about real people on stage. We'll move on to working with the reality of a space, not attempting to have a piece transform a space so much as allowing the space to transform and collaborate with the piece. Finally we’ll look at the “real time” that audiences and performers spend together – how to acknowledge the shared time spent in the theatre, and when a performance becomes an event or a happening.<br />
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<b>Q: You're a returning teacher at the Volcano Conservatory--what makes you want to come back?</b><br />
I had a great time teaching the Volcano Conservatory last year – the students are intelligent and engaged and really committed to expanding their practice, taking risks and introducing new ideas and perspectives into their work. The topic I’m teaching at the Conservatory this year is about distancing Canadian theatre from fictional stories, characters and settings as a default setting for live performance, and instead thinking through the possibilities of a performance as an unrepeatable event with the potential to change and provoke. There are a lot of artists in Canada already doing amazing work in this vein, and a lot of artists who I know are interested in making more of this kind of work. I'm very much looking forward to seeing who comes out and to getting to know their interests and preoccupations! <br />
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<b>Q: Who do you imagine will benefit from participating in "Playing with the Real"? </b><br />
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The course is for artists who are already making more unconventional theatre as well as theatre artists who are accustomed to more conventional theatre. It's for any professionals who are interested in expanding their practice and making work that focusses more on the live, the real and the unrepeatable. This class is about encouraging artists to shift the priorities and conversations that begin the process of making a new piece. Like many of the workshops I’ve taught with Volcano before, I’m always on a mission to help make work that does not take form for granted in theatre – that does not see a well made play taking place in a fictional world as a default, but as one possible choice among many. I like to help make and facilitate work where the form that artists choose for their work is born out of the content they want to explore.<br />
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If you’re a theatre maker who is already making this kind of work, this course will give you an excuse to make more of it, and to think through and question what you perhaps already know instinctively or from experience. If you’re a theatre maker who has primarily acted in plays or written plays with fictional characters and settings, but who is interested in doing something else with audiences, who is perhaps interested in conceptual art, performance art, live art and installation-based art, and bringing some of the techniques and thinking used in that work into theatre, then I hope that this course will also be for you.<br />
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<tr><td class="tr-caption" style="text-align: center;">Deborah Pearson performing <i>History History History </i></td></tr>
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<b>Q: As you've mentioned, the majority of your own artistic practice is based in 'the real'. Can you tell us about a recent project of yours made with these approaches?</b><br />
Almost every project I’ve ever made has worked with “non-fictional” approaches in some way. I'm constantly collaborating with real sites, or real people, or real objects. I'm interested in trying to tell "true" stories in a theatrical form, even if the "truth" is an illusive, ephemeral and largely absent thing. My most recent piece, <i>History History History</i>, which I showed a work-in-progress version of at Progress in Toronto this January, collaborated with a Hungarian film from 1956 to attempt to tell the story behind the film in terms of its historical implications, and the large scale political (now historical) events that impacted both the film, and me. <br />
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Although the actors in the film are playing fictional characters, framed in this way the audience can see them as living, breathing human beings, just doing their job - the job of being actors in a film. The audience begins to sense the very real consequences that the political events in Hungary had on the actors who are immortalised on screen doing a funny dance or pretending to play football. The people in the film, the writer of the film, the director of the film, are all real people, many of whom have died and some of whom are alive but very very old. I had some ethical concerns while making the piece around how to frame their stories/histories, and whether or not I was the right person to tell them given that I could not offer a definitive version (if a definitive version even exists). I tried to bring this ambiguity and sense of the loss of a "definitive version" of the truth through history into the piece. I was as explicit as possible with the audience about my personal connection to the film and to the piece, and the biases and difficulties that connection creates. Using real people’s stories and biographies is always a minefield – it generally makes for very interesting work, but I do believe it should be done responsibly, as much as possible. Then again, the UK comedian Kim Noble’s show <i>You’re Not Alone</i> uses almost entirely real people's images and stories without their consent – it’s probably one of the most unethical pieces of theatre I’ve ever seen – and one of the most interesting. This is just one element of working with the real in performance, and one that I'm constantly grappling with, as both an audience member and an artist.<br />
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<i>Deborah Pearson's class "Playing with the Real" runs as part of the Volcano Conservatory from July 25-29, 2016 at The Theatre Centre. You can register <a href="http://volcano.ca/education/the-volcano-conservatory/#registration" target="_blank">here. </a> You can find out more about Deborah's work at her<a href="https://deborahpearson123.wordpress.com/" target="_blank"> website</a>. </i>Volcano Theatrehttp://www.blogger.com/profile/05842981636478085003noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-54392799956212811572016-06-21T08:23:00.001-07:002016-06-21T08:24:16.742-07:00Q & A with Daniel Brooks<h3>
Daniel Brooks is a writer, director and performer who has collaborated with a wide range of artists throughout his career. He was co-artistic director of The Augusta Company, Artistic Director of Necessary Angel from 2003-2012, and is currently an associate artist at Soulpepper, where he teaches. His many awards include the Siminovitch Prize. His work has toured across Canada and around the world. Daniel has taught at the Conservatory several times, and joins us this year with his course "Dynamics of Space". Here, Daniel speaks to Erupting Now about this class and his unique approach: </h3>
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<b>Q: What will "Dynamics of Space" be all about? </b></div>
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A: I will be teaching a course that strips away all politic, metaphor, and psychology, in order to explore simple stage dynamics: the body in space, the body in motion, the body in relationship to other bodies. We will do simple exercises - but simple in a way that is often difficult, for it requires a kind of training and concentration that demands a simple presence and awareness. Participants will act as “directors” and actors. The exercises we examine will be beneficial to both directors and actors, as we will be exploring fundamental aspects of stage dynamics. </div>
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As the “director” works on a presentation, we will also be examining how each individual communicates, how they can more effectively communicate and command the attention of the actor and of the room. We will also explore the actors ability to collaborate with a director. How can an actor contribute to a collaboration while at the same time taking exacting instruction?</div>
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<b>Q: Your class follows a very specific series of exercises. What do you find to be the benefits of this more structured approach?</b></div>
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A: There are endless skills and capacities that theatre makers can develop. I believe we sometimes overlook simple technical skills, that can be applied to any kind of theatre creation. A more structured approach allows the participant to examine their work more objectively. By stripping away more conventional “meanings” (political, psychological or otherwise), by clearing the air and working technically, other unexpected meanings emerge in the work. In addition, I think working technically is fun!</div>
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<b>Q: Who will benefit from participating in Dynamics of Space?</b></div>
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A: Actors and directors who are interested in stage dynamics, especially the dynamics of the body of the performer in space, and advancing their ability to communicate clearly. </div>
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<b>Q: What makes you want to return to the Volcano Conservatory as an instructor? </b></div>
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A: I always look forward to being inspired by the energy, talent and enthusiasm of the participants. </div>
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<i>Space is filling quickly for Dynamics of Space! You can register <a href="http://volcano.ca/education/the-volcano-conservatory/#registration" target="_blank">here</a>. Information about the full slate of Conservatory offerings in 2016 can be found <a href="http://volcano.ca/education/the-volcano-conservatory/#desc" target="_blank">here. </a></i></div>
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Volcano Theatrehttp://www.blogger.com/profile/05842981636478085003noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-57835343764769892802016-06-20T12:02:00.002-07:002016-07-04T10:51:01.952-07:00Q&A with Peggy Baker <h3>
Peggy Baker's Movement for Actors course has been a staple of the Volcano Conservatory since 2011. This course allows participants to connect with their physicality in new, exciting and imaginative ways and has had been popular among actors, directors, dancers, physical theatre performers and more every year that it has been offered. </h3>
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Peggy Baker is an internationally acclaimed dance artist and a master teacher. She teaches all across Canada and has designed programs accessible to dancers and non-dancers alike, across the spectrum of ability and background. We spoke to Peggy about Movement for Actors and why she keeps coming back to the Volcano Conservatory.</h3>
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<tr><td class="tr-caption" style="text-align: center;">Photo of Peggy Baker by Vikram Dasgupta</td></tr>
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Q: What can participants in Movement for Actors expect?<br />
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A: This work provides time and space and projects that bring us home to our bodies. We will connect with the reality of our flesh, blood, bones and breath and prime ourselves to listen to the images and impulses that emerge in an embodied state.<br />
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<tr><td class="tr-caption" style="text-align: center;">2015 Movement for Actors participants<br />
Photo by Elee Stalker</td></tr>
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<span class="s1">Q: What excites you about teaching as a part of the Volcano Conservatory?</span></div>
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<span class="s1">A: Working in a stripped performance space, with a group of artists ready to explore and create, is food for my soul. </span></div>
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<span class="s1">Q: Who might benefit from participating in Movement for Actors?</span></div>
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<span class="s1">A: This class is designed for anyone who’d like to set aside the time to tune in to their body as a locus of creativity and expression. We’ll explore pathways to relax, to focus, to energize, to create, to perform and to witness. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">2015 participant, Photo by Elee Stalker</td></tr>
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<span class="s1">Q: What can actors learn about their bodies by taking your class?</span></div>
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<span class="s1">A: The language of the body is sensation, intuition, imagination… and we’ll be working to access that language, and to speak it, with immediacy and originality.</span></div>
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<i>Registration for Movement for Actors is still open. Spaces are limited, so<a href="http://volcano.ca/education/the-volcano-conservatory/#registration" target="_blank"> register now</a>! For more information on all the classes on offer in the 2016 Volcano Conservatory,<a href="http://volcano.ca/education/the-volcano-conservatory/" target="_blank"> click here. </a></i></div>
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<br />Volcano Theatrehttp://www.blogger.com/profile/05842981636478085003noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-71982955773224836082016-06-06T14:29:00.001-07:002016-06-07T09:01:06.281-07:00Q & A with John Beale<h2>
John Beale is a Toronto based actor, teacher and director. A graduate of The Philippe Gaulier International Theatre School in Paris, John also trained, performed and taught extensively with Shakespeare and Company in Lenox, Massachusetts and is now an artistic associate with reWork productions in Toronto. This is John's first year teaching at the Volcano Conservatory. </h2>
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<br />We spoke to John to learn a little more about his class, "Presence", and his approach to teaching:</h4>
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<b>Q: Can you tell us about "Presence", the course you’ll be teaching for the Volcano Conservatory?<span class="s1"></span></b></div>
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<span class="s1">A: With this work we discover the ways in which we reveal ourselves and how we hide away. This form connects us with our enormous pleasure to play but then presents us with the formidable task of making everyone burst out laughing. Our ego rushes in to save the day either pushing too much or shying away. This fear of failure brings out all our tricks we use to avoid being exposed. It's when our best intentions fall flat the pretense of the ego is revealed. The rug is pulled. The thin ice cracks and what is uncovered is a beautiful, sensitive, vulnerable presence behind the slipping mask of ego- a presence that fills the room. We show up. It's very powerful. So in the end it's not about being funny or goofy or small or cute it's about showing our true presence. Paradoxically the goal we set out to achieve in the first place happens by accident. There is a burst of laughter but not a derisive or pitiful laughter, it's a huge heartfelt, belly laugh at the human condition. The audience falls in love. </span></div>
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<b>Q: What about the experience of teaching in the Volcano Conservatory are you looking forward to?</b><span class="s1"></span></div>
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A:What a great opportunity to be under one roof with such a great collection of teachers and students drawn from all corners of the performance world. </div>
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<span class="s1"><b>Q: Who should take your class? Why?</b></span></div>
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<span class="s1">A: The form is studied to discover one's clown. For actors it's Jedi training - an essential workout to become more sensitive, open and connected to your audience. For non-actors it's a practice of facing fears, showing up and finding a powerful connection with others, opening that channel between you and them. Everyone will have the experience they need. People come to this challenging and rewarding work when they're ready. </span></div>
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<span class="s1"><b>Q: You offer this class for performers and non-performers alike. What’s different about working with those two groups? What’s it like when they come together in class?</b></span></div>
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<span class="s1">A: I always prefer working with a range of ages and experiences in the room. Having a large cross section of participants enriches the ride for everyone. A lot is learned through observing. Actors witness how present non-actors can be by accident and non-actors see how it's possible to craft these "accidents". </span></div>
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<span class="s1"><i><a href="http://volcano.ca/education/the-volcano-conservatory/#registration" target="_blank">Registration is open for all courses in the Volcano Conservatory</a>. Don't miss out, spaces are limited. Check back soon for interviews with some of our other illustrious instructors!</i></span></div>
Volcano Theatrehttp://www.blogger.com/profile/05842981636478085003noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-65564656537251714412016-04-25T11:29:00.003-07:002016-04-25T11:32:57.770-07:00Q & A with Suvendrini Lena<div class="p1">
Suvendrini Lena is a neurologist who is particularly interested in conditions that explicitly alter the fabric of consciousness – epilepsy, dementia, psychosis and migraine. </div>
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<span class="s1">She works as the Staff Neurologist at the Centre for Addiction and Mental Health and at the Centre for Headache at Women’s College Hospital. She is a Lecturer in Psychiatry and Neurology at the University of Toronto where she teaches medical students, residents and fellows. She also teaches a course called Staging Medicine which is a collaboration between The Theatre Centre and U of T Postgraduate Medical Education.</span></div>
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In addition to her impressive medical pursuits, Suvendrini is also a playwright. Her first play, <i>The Enchanted Loom</i>, inspired by an experience in a neurosurgical OR, will be produced by Cahoots and Factory Theatre in 2016. She is a playwright-in-residence at Cahoots where she is working on a second play entitled <i>Rubble</i>. She is currently scientist in residence at The Theatre Centre where she is developing an interdisciplinary work exploring voice in schizophrenia.</div>
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<span class="s1">Suvendrini tries to explore a different crevice of her dusty old brain, or someone else’s, everyday.</span><br />
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For inFORMING CONTENT 2016, Suvendrini will speak on the way that our brains process colours, windows, our time webs, and life lines now, in our digitized world.<br />
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<b>Q: What would you like us to know about your current work? </b><b></b></div>
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A: I’ve been studying/learning/practising neurology/neuroscience for at least 15 years now. I’m struck by the accelerating pace of change in my field driven in part by the convergence of computation science and neuroscience in efforts to map, and really to transform the nature and boundaries of consciousness. I used to go to science fiction movies (which I love) and think I was watching a vision of the future. Now, I often feel like I’m watching the past. I don’t know who can imagine the future anymore.</div>
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<b>Q: Can you tell us about a piece of art that you saw/read/heard that changed your perspective?</b></div>
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<i>A: Einstein on the Beach </i>(Opera, Phillip Glass) – in which numbers are inherently beautiful and both totally abstract and absolutely real. I felt that I understood something about infinity afterwards. It is four hours long and celebrates repetition and so I saw it twice.</div>
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<i>Written on the Skin </i>(Opera, Martin Cripp & George Benjamin) and <i>My Name is Black</i> (Novel, Orhan Pamuk). Both stories about love and murder and medieval manuscript painting. I’m fascinated by the representation of the infinite within the miniscule. The scientific parallel would be the way the cellular and molecular world seems to expand ever inwards as one descends into it through a microscope.</div>
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<b>Q: What’s your most creative solution when you’re feeling blocked or stuck in your work? </b></div>
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A: I walk among tall trees or near water. My favourite strategy is to do it at night. It’s a good way to confront the shadows. </div>
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<b>Q: What motivates you when you’re feeling uninspired? </b></div>
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A: We live. We breathe. Inspiring, expiring.</div>
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I work with people who are often very ill, sometimes dying. In the course of my training I have seen a lot of degeneration, suffering and death, in the young and the old. The knowledge that life is very short and little is truly within our control is ever with me. And so, as long as I am alive, feeling, sensing, breathing, moving, I am not uninspired.<br />
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<i>Everyone is welcome to attend Suvendrini's lecture at inFORMING CONTENT 2016. You can register <a href="http://volcano.ca/education/informing-content/#audienceinformation" target="_blank">here</a>! </i></div>
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Volcano Theatrehttp://www.blogger.com/profile/05842981636478085003noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-77217255369810745192016-04-12T07:54:00.000-07:002016-04-12T08:04:49.144-07:00inFORMING CONTENT Preview: A Chat with Alanna Mitchell<h3>
Alanna Mitchell is an award-winning Canadian journalist, and author, who writes about science and social trends. She is a global thinker who specializes in investigative reporting. Her book, <i>Sea Sick: The Global Ocean in Crisis</i>, is an international best seller that won the prestigious U.S.-based Grantham Prize for excellence in environmental journalism. Her one-woman play based on that book was nominated for a Dora award and has toured nationally and internationally. For <a href="http://volcano.ca/education/informing-content/" target="_blank">inFORMING CONTENT 2016</a>, Alanna will deliver a talk on the potential reversal of Earth's magnetic poles. Here, she answers some questions about her work and her inspiration. </h3>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPOo1Qs3w-o2Z_BG3fWL9sEBUf2kM1fzy4dLZSwgp8BFn9CUvJrRBtIpPqrIgzERNOSV5F4nwe6NLifykGDLYXlcuZMYw8QOetDnyJEw43X8WkJQ7kWbRUOxB5RoTsa9sw8_d_yz7OuBI/s1600/alanna.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPOo1Qs3w-o2Z_BG3fWL9sEBUf2kM1fzy4dLZSwgp8BFn9CUvJrRBtIpPqrIgzERNOSV5F4nwe6NLifykGDLYXlcuZMYw8QOetDnyJEw43X8WkJQ7kWbRUOxB5RoTsa9sw8_d_yz7OuBI/s1600/alanna.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alanna Mitchell</td></tr>
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<span class="s1"><span style="font-family: inherit;"><b>Q: What would you like us to know about your current work?</b></span></span></div>
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<span class="s1"><span style="font-family: inherit;">A: I am working on a book about the potential reversal of the Earth’s two magnetic poles. North will become South and South will become North. As that flip happens, the Earth’s magnetic field, which helps protect life on the planet from solar radiation will decay, becoming only a tenth of its normal strength. The last time the poles reversed was 780,000 years ago. </span></span></div>
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<span class="s1"><span style="font-family: inherit;"><b>Q: Can you tell us about a piece of art that you saw/read/heard that changed your perspective?</b></span></span></div>
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<span class="s1"><span style="font-family: inherit;">A: Ravi Jain’s <a href="http://www.theatrewhynot.org/project/gimme-shelter/" target="_blank"><i>Gimme Shelter</i>.</a> At the end of the one-man piece, Ravi left the stage and each member of the audience had choose someone on the other side of the theatre space and physically and emotionally connect — would you let this person drown rather than enter your country? It was shattering. </span></span></div>
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<span class="s1"><span style="font-family: inherit;"><b>Q: Have you collaborated on artistic projects before?</b></span></span></div>
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<span class="s1"><span style="font-family: inherit;">A: Yes! My play <i><a href="https://alannamitchell.com/sea-sick-2/" target="_blank">Sea Sick</a></i> was a full-on collaboration that would not have happened without the help of Franco Boni and Ravi Jain. Together we developed a script and then the two of them directed the play while I performed it. </span></span></div>
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<span class="s1"><span style="font-family: inherit;"><b>Q: What was the most unexpected discovery that came out of this conversation?</b></span></span></div>
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<span class="s1"><span style="font-family: inherit;">A: That the process was just as important and the final product. Revelation! And so wildly different from the journalistic process, where it’s all about what ends up on the page. </span></span></div>
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<span style="font-family: inherit;"><b><span class="s1">Q: </span>What’s your most creative solution when you’re feeling blocked or stuck in your work? </b></span></div>
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<span class="s1"><span style="font-family: inherit;">A: I read beautifully written non-fiction. Or else I sleep and the words come to me. </span></span></div>
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<span class="s1"><span style="font-family: inherit;"><b>Q: What motivates you when you’re feeling uninspired?</b></span></span></div>
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<span class="s1"><span style="font-family: inherit;">A: Going for long walks. </span></span></div>
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<span class="s1"><span style="font-family: inherit;"><b>Hear Alanna's contribution to inFORMING CONTENT on Friday, April 29, 2016 at 6:30pm at The Theatre Centre. Tickets are free and can be reserved<a href="https://www.eventbrite.ca/e/informing-content-2016-day-1-missives-from-the-future-lectures-registration-22790395687" target="_blank"> here.</a> </b></span></span></div>
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<span class="s1"><span style="font-family: inherit;"><b>On May 1, come see Alanna's work interpreted by a group of experimental performing artists led by artistic leaders from Toronto and beyond. Tickets are free and can be reserved<a href="https://www.eventbrite.ca/e/informing-content-2016-day-3-performances-by-participants-tickets-22790995481" target="_blank"> here. </a></b></span></span></div>
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<span class="s1"><b>You can learn more about Alanna's work by visiting her <a href="https://alannamitchell.com/" target="_blank">website. </a></b></span></div>
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Volcano Theatrehttp://www.blogger.com/profile/05842981636478085003noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-1576413159440168762016-01-14T10:04:00.000-08:002016-01-14T10:32:56.862-08:00Q & A with Neema Bickersteth and Gregory Oh<h3>
Neema Bickersteth is the creator and star of <i>Century Song</i>, seamlessly moving through the worlds created on stage by song, dance and art. She is accompanied on piano by Gregory Oh, who creates improvised soundscapes along with Debashis Sinha (percussion and computer). Here, Neema and Gregory reflect on the <i>Century Song </i>journey.</h3>
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<tr><td class="tr-caption" style="text-align: center;">Neema Bickersteth</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Gregory Oh</td></tr>
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<b>Q: What moment in the show always delights you/takes your breath away?</b><br />
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NB: Well, there are many moments that literally take my breath away leaving me a sweating, panting mess... but I love the very end of the show when I feel like I'm really a dancer moving in only light, no other visual distractions, just me in my body as myself.</div>
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GO: Delight: when Deb whips out his suitcase of toy instruments.</div>
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Breathtaking: City Kid visuals!</div>
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<b>Q: What artist from the past century do you wish more people knew about?</b></div>
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NB: Kathleen Munn. We are using a work of hers from the 20's - of a nude woman painted in the cubist style. She was experimenting with styles that were very different than most of her peers in Canada at the time.</div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Composition (Horses)</i>, Kathleen Munn</td></tr>
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GO: Gerard Grisey. <i>Vortex Temporum</i> is one of the greatest works in the entire 20th century canon. </div>
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<b>Q: Do you listen to music to get ready before the show? What music?</b></div>
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NB: Nope I don't listen to anything. We're making so much during the show, it's nice to have a bit of quiet.</div>
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GO: Never. Generally all I ever hear is Deb getting fanboy about buying 17 more Gigabytes of sound effect samples, but I don't really listen.</div>
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<b>Q: This show’s been in development for 5 years. Have you ever done anything else that took five years?</b></div>
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NB: I don't think so but... I went to university for music for 7 years. I had 7 years of development/waiting before getting pregnant with my baby. Hmmm... now I'm interested in what will happen to <i>Century Song</i> after 7 years! </div>
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GO: Wooing my current partner.</div>
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<b>Q: Can you tell us about a surprising or memorable moment during the creation of <i>Century Song?</i></b></div>
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NB: During the making of what we call the Orlando video - I was surprised at how good Momme looked in the afro wig!<br />
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OH: There was the time we arrived at the NAC Ontario Scene Festival, and I was warming up on the piano, and using all sorts of extended techniques inside and outside to play the instrument, and somehow the little vibrator I was exciting the treble strings with slipped out of my hands and under the strings and into the action. Vibrators don't turn themselves off, and the only way I could get it out was to remove the lid, unscrew the keyblock pins and remove the entire action. It took a long time. It felt even longer. The technical crew was not impressed.</div>
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<b>Q: What moment from the past Century do you wish you’d been a witness to?</b></div>
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GO: The 1998 Rose Bowl. National Championship! Woodson!</div>
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Either that or <a href="http://americanart.si.edu/collections/mediaarts/paik/" target="_blank">Nam June Paik</a>'s "First Accident of the 21st Century".</div>
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<b>Catch Neema and Gregory in <i>Century Song</i>, running January 19-23 as part of Progress. Tickets can be purchased<a href="https://tickets.theatrecentre.org/TheatreManager/1/tmEvent/tmEvent128.html" target="_blank"> here.</a></b></div>
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Anonymoushttp://www.blogger.com/profile/11011268221271187109noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-69005356343912576512016-01-06T07:15:00.001-08:002016-01-06T07:24:12.948-08:00Q & A with Ross Manson<h3 style="text-align: left;">
Volcano Artistic Director Ross Manson joined the team of <i><a href="http://volcano.ca/production/century-song/" target="_blank">Century Song</a> </i>as director in 2011 and has been keenly devoted to its growth and development ever since. In this post, Ross reflects on some of his favourite aspects of the show.</h3>
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<tr><td class="tr-caption" style="text-align: center;">Ross sits at the piano during an early workshop of <i>Century Song</i></td></tr>
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<b>Q: What moment in the show always delights you/takes your breath away?</b></div>
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A: Whenever Neema sings. Which is often. But her ability to sing the incredibly complex Aperghis vocalise while dancing the incredibly complex Alton choreography, for example, is breathtaking. Every time.</div>
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<b>Q: What artist from the past century do you wish more people knew about?</b></div>
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A: Olivier Messiaen’s life story is enormously interesting. He had a happy life into which horror intruded - this would be in France and Poland before and during the Second World War. We have 2 compositions of his in the show - one from his happy pre-war period when he was in love and working a lot (1930s), and another - called <i>Vocalise for the Angel who Announces the End of Time</i>, which is part of his <i>Quartet for the End of Time </i>(1941) - which he wrote in a Nazi POW camp, after his wife had gone mad and he had lost pretty much everything he held dear. The premiere of this piece was in the camp, with an audience of guards and prisoners in the outdoors in cold weather. There were only three other musician prisoners, and so the piece was written as a quartet for the instruments they happened to play. It is a towering piece of music in the 20th century. In our show, our arrangement of this music accompanies a series of images by German Expressionist artist Käthe Kollwitz. It is a section that exemplifies what artists can show about the experience of war.</div>
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In addition, a large part of the work we did on the show was to look into the history of black women in Canada from the early 1900s to the present day - this to inform the emotional choices Neema makes while singing. There are MANY things in this history that I would guess the majority of Canadians know nothing about. There's the bulldozing of an entire thriving neighbourhood in 1970 in Vancouver (called Hogan’s Alley) to make way for a viaduct that was never actually built. The neighbourhood was mixed race, but predominantly black. Among the residents displaced was Nora Hendrix, the grandmother of Jimmy (who used to visit his grandmother in Vancouver as a child). There’s also the community of black farmers who moved to Alberta from Oklahoma in the early 1900s. They were answering a Canadian government ad campaign inviting American farmers to Alberta. The new black arrivals were not what was expected and were so unwelcome that the government of Canada began another marketing campaign in the USA - this one to discourage black immigration. There’s also the fact that black women working in munitions factories during the 2nd World War were often given the most dangerous jobs, and paid the least. But there’s also the jazz scene in Montreal though the 30s and 40s - the only major North American city at the time where white and black musicians were allowed to share the stage. And then there’s the rise of black women’s feminism in the 1970s - a powerful and articulate movement calling not only for liberation, but for justice. Black history in Canada is rich, and, sadly, mostly unknown. </div>
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<b>Q: What moment from the past Century do you wish you’d been a witness to?</b></div>
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A: The first performance of <i>Quartet for the End of Time</i> in Stalag 8A in Poland. As Messiaen later wrote of the experience: "never have I had an audience who listened with such rapt attention and comprehension."</div>
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<b>Q: Do you listen to music to get ready before the show? What music?</b></div>
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A: The music FROM the show is in my head whenever we do it. And that’s ok.</div>
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<b>Q: This show’s been in development for 5 years. Have you ever done anything else that took five years?</b></div>
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Yup - most Volcano shows take this long to take shape, give or take a year or two.</div>
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<tr><td class="tr-caption" style="text-align: center;">Ross during the green-screen shoot in 2013</td></tr>
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<b>Q: Can you tell us about a surprising or memorable moment during the creation of <i>Century Song</i>?</b></div>
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A: When Greg and Deb are given too much time on their own while on tour, it’s like watching brothers at a family get-together - with Greg as the misbehaving little brother, and Deb as the long-suffering older brother telling the smaller one to knock it off. Lots of eye rolls. I love it. I love this team. It’s a deep joy working together.</div>
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<span style="color: #cccccc;"><i>Century Song </i>begins January 19 (preview) at the Theatre Centre as a part of <a href="http://thisisprogress.ca/" target="_blank">Progress</a>. <a href="https://tickets.theatrecentre.org/TheatreManager/1/tmEvent/tmEvent128.html" target="_blank">Tickets</a> are available now. Learn more <a href="http://volcano.ca/production/century-song/" target="_blank">here. </a></span></div>
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Anonymoushttp://www.blogger.com/profile/11011268221271187109noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-87128422586723282952015-12-22T07:33:00.001-08:002015-12-22T07:57:14.001-08:00Q&A with Michela Sisti<h3>
Michela Sisti is working with Ross as as the Assistant Director for <i>Century Song </i>through Theatre Ontario's Professional Theatre Training Program. Michela takes us behind the scenes as she learns more about creating experimental, interdisciplinary theatre here in Toronto: </h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7zhQR0AiG-DTpFyiboWFp46pMfHyWEKsqWgijqx2Z6cHM_ICqRsbZRrMLcthYtEc0cUNWNVTeXhUidm4_RJkrmvBl3SlqpqFQZpA4IWLpfCfQai_M8sEyuAAooqy33qJuh6Gomk1osURA/s1600/Michela+Sisti+-+Headshot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7zhQR0AiG-DTpFyiboWFp46pMfHyWEKsqWgijqx2Z6cHM_ICqRsbZRrMLcthYtEc0cUNWNVTeXhUidm4_RJkrmvBl3SlqpqFQZpA4IWLpfCfQai_M8sEyuAAooqy33qJuh6Gomk1osURA/s320/Michela+Sisti+-+Headshot.jpg" width="213" /></a></div>
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<tr><td class="tr-caption"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: small;">Michela Sisti</span></td></tr>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b> Q:Why did you want to work with Ross Manson on Century Song for this training opportunity?</b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b> </b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>A: </b>I want to get really good at creating interdisciplinary theatre. I started directing when I was living abroad in London and I began by staging plays quite conservatively. Then I got into devising work with actors and found it incredibly nourishing and eye opening. The realization that we can make anything, do anything, speak anything we want was utterly revolutionary to me. What I learned from our experiences was creating good theatre that honours all of the talents involved in the creation process is difficult. It’s difficult and it is worth spending the rest of my foreseeable future learning to get it right.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">My first encounter with Ross’s work was going to see <i>A Synonym for Love.</i> It was opera uncorseted, gleefully liberated from proscenium arch-land and it was genuinely playful. I loved it. I moved to the UK the following year and it was there that I began reading up on Volcano’s other shows. This company was kick-ass. Not only were they bringing together music, movement, strong visuals and spoken dialogue in their work, they were also crafting their shows around poetry, history, science, and things that were happening to people in our world, now. I kept thinking to myself, this is what art is supposed to be: absolutely bottomless. The small, the big, everything in between. Life is too short. While I’m here, I want to make some of that!</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Putting on a piece of theatre is kind of like inviting a whole neighborhood of people over to your home for dinner. Some of these people might be old friends; most are complete strangers. Your job as the host is to serve up a fresh, well-made meal. (I might have stolen that phrase from <a href="https://en.wikipedia.org/wiki/Mike_Alfreds" target="_blank">Mike Alfreds</a>.) By the end of this meal you might want your guests to feel nourished. Or you might want to leave your guests not quite satisfied and wanting more. You might want to give your guests a burst of inspiration, that could cause them leave half-way through the dinner in order to cook up their own suppers. You might want to delight your guests with the array of flavors you’ve drawn together, or the presentation. (Some of those flavors might turn people off - that’s cool, you’re not going please everyone.) People might be stimulated, galvanized, provoked by the dinner conversation. Whatever goes on at that table it’s the relationship with the people you’ve reached out to and who’ve come, that has to be honoured. When people are taken for granted, ignored, forgotten, art can become tyrannical and abusive. This is something I want to try to stay vigilant about.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b> </b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>Q: What have been some of the highlights of the experience so far?</b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b> </b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>A: </b>The people! Playing around together with ideas! Problem solving!</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Century Song</i>’s final development week was focused on reinterpreting a movement from Olivier Messiaen’s <i>Quartet for the End of Time</i>, which will be replacing a semi-improvised musical section from the show’s previous run.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Messiaen’s quartet was originally written for piano, violin, cello and clarinet. The challenge was to reinterpret the piece for piano, soprano voice and whatever else the combined musical genius of Gregory, Deb and Neema could come up with.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In the B section of the chosen movement, <i>"Vocalise, for the Angel who announces the end of time"</i>, a cello and violin drift along the same winding staircase of notes, in their upper registers, three octaves apart from each other, in pure, sustained tones. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Early in the process the team decided that Neema would sing the cello line on a pure vowel. After a bit of experimenting, it turned out an ‘oo’ sounded best. But what instrument would sing above her? </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The team came up with an eccentric list of candidates: the Theremin (a contact-less instrument you play by manipulating an electromagnetic field with your hands!), the musical saw, the Ondes Martenot (1920s synthesizer) and an array of sounds Deb conjured up on his computer. We had two restrictions to work with. The first was a practical one: whatever was chosen would have to be something Deb could realistically learn to play between now and the performance. The second restriction was artistic: if we were going to honour the original piece Messiaen had written, we would need to have two joined voices, moving as reflections of each other over the glass footsteps of the piano line. So we needed to find a sound that had the same bare, vibrato-stripped quality of Neema’s "oo"s.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Finally this idea was proposed: Neema would sing with… herself! </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Deb had found a way of capturing Neema’s voice through a microphone and producing a live, three-octave-higher, Neema doppelganger. Fun! Brilliant!</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I learned early on that a big idea expressed during Volcano’s development process is a wonderful, dangerous thing.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In Volcano-land Ross and the team give ideas the dignity of formal experiment. The idea is put into action and tested. A hundred and one questions emerge, and offshoots of offshoots of questions, which are tested in turn.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><br /></b></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b> </b></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiE5V7lOL4cTpiz0v-gl0wKU6QUJ2f8SmxofPEYmVFoW_zhCS9cmpKm0069YlN4W0lVBvTPYxHnrImt9A0tgBKcyshFDuYjJPV6P3hyphenhyphenUrMKqFR6oOAz2M79h3eUIGLKrplh4ozLQIT-1l9/s1600/_MG_7085.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiE5V7lOL4cTpiz0v-gl0wKU6QUJ2f8SmxofPEYmVFoW_zhCS9cmpKm0069YlN4W0lVBvTPYxHnrImt9A0tgBKcyshFDuYjJPV6P3hyphenhyphenUrMKqFR6oOAz2M79h3eUIGLKrplh4ozLQIT-1l9/s320/_MG_7085.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Neema Bickersteth<br />
Photo by John Lauener </td></tr>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><br class="Apple-interchange-newline" />Q: What moment in the show takes your breath away?</b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b> </b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>A: </b>Neema’s semi-improvised ‘Blood Dance.’ I watched it first through a computer screen - Ross had given me a recording of the Ottawa performance to look at - and it was one of those moments when you have to pause the video and ask, did I just see what I just saw?</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">When I attended the final development week of <i>Century Song</i> I saw part of the dance live, with the percussion rattling and cracking through the room. Witnessing the live performance was a whole other experience– much more visceral. You feel in your own body the sonic vibrations that are moving the performer. And there was a meditative quality to Neema throughout all this, in spite of the frenzied nature of the dance, which drew all the explosive energies of sound and movement to one deadly centre. It was as if a vortex has been created on stage.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The Blood Dance percussion now rips out of the tranquil, undulating belly of Messiaen’s "<i>Vocalise, for the Angel who announces the end of time</i>". And Neema now wears a boiler suit and a red head-wrap – the uniform of a female munitions factory worker of WWII.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The sum of all these images is grim, but there is something regenerating in conjuring up these events of from past into the present, and all of us looking at them, together, in the face.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">On a lighter note, wait till you get a load of the fettFilm animation. I defy any jaw that does not drop and swing from its hinges.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b> </b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>Q: What artist from the past century do you wish more people knew about?</b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b> </b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>A: </b>I think a lot of the artists whose works I love are already pretty well known…or at least within the circles of the people who like them! Two 20th century composers I keep coming back to are Gyorgy Ligeti and Arvo Pärt. Both composers have this ability to dissolve a room with their music. Ligeti builds landscapes of sound that take you hostage. When I listen to his <i>Atmospheres </i>or his <i>Requiem</i> I feel as though I am being pulled deeper and deeper through shifting, transforming worlds. And then Pärt – it’s as if the man composes with light! There is a beauty and a spiritual clarity to his music that demolishes anything peripheral, that lays everything else to rest. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I would love to take an armful of art and music and literature from the 20th century and drop it into the lap of a completely different era from the past and see what people make of it. What conclusions would they draw about us? What would they reject? What would they be moved by? I think it would only be worth the time travel if I were allowed to get in on the communal art discovering.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b> </b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>Q: What moment from the past century do you wish you had witnessed?</b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b> </b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>A: </b>Excellent, more time travel!</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I actually don’t know if I’ve ever wished to be present as a witness during moment from the past century. So much of what comes to mind when I first hear the words 20th century is the stuff of nightmares – wars, genocides, state terror, mass disillusionment, environmental degradation. But then, on the other hand, the 20th century also brings to mind people who were brave and compassionate, people who had visions of a better world and who devoted their lives to creating the good kind of change.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">This prompt question is actually a really good exercise because it essentially gets you to be honest with yourself about how you want to be spending your time now, in the present moment.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">My first instinct is to go somewhere quiet. I would transport myself to a forest somewhere, in the early hours of the morning, 1921, let’s say. There’d be a lake. And I think there would be no people around. I would want to see the world without human markers of time.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">But then, I could stand in a forest anytime I wanted and pretend it is 1921!</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Second instinct is to drop myself on a large city’s busiest city street corner at the turn of the century. Can I make it a world tour of busiest street corners? </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Third instinct is – no, I actually don’t want to visit distant ancestors in rural Italy.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I just want to find some one I could talk to, really. I think I want the peace of knowing we are all existing/we have all existed together on this earth. I don’t want to feel alone in time.</span></div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span class="s4"></span>
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Anonymoushttp://www.blogger.com/profile/11011268221271187109noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-44604977539682013122015-11-26T08:19:00.000-08:002015-11-26T08:19:19.406-08:00A Q&A with Debashis Sinha<h3>
Debashis Sinha has been crucial to the development of the sonic world of <i>Century Song. </i>Working with creators Ross, Neema and Kate, Debashis (along with pianist Gregory Oh) creates a live improvised soundscape onstage every night. We're so lucky to have Deb's unique electroacoustic sound as a part of <i>Century Song'</i>s journey through the past century of art, history and emotion.</h3>
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<tr><td class="tr-caption" style="text-align: center;">Debashis Sinha</td></tr>
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<br />
<i><br /></i>
Get to know Deb through this Q&A:<br />
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<div class="p1">
<span class="s4"><b>Q: What moment in the show always delights you or takes your breath away?</b></span></div>
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<span class="s4"><br /></span></div>
<div class="p2">
<span class="s4">A:The very last note and move that Neema does of the Aperghis-the moment before Gregory and I launch into the response. So lovely and powerful, and a testament to Neema’s incredible strength and artistry.</span></div>
<div class="p3">
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<span class="s4"></span></div>
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<span class="s4"><b>Q: What moment from the past Century do you wish you’d been a witness to?</b></span></div>
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<span class="s4"><br /></span></div>
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<span class="s4">A:I wish I was in Berlin the night the wall fell.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Deb hard at work during an early workshop</td></tr>
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<div class="p4">
<span class="s4"></span><br /></div>
<div class="p5">
<span class="s4"><b>Q: Music is at the heart of <i>Century Song.</i>Do you listen to music to get ready before the show? </b></span></div>
<div class="p5">
<span class="s4"><br /></span></div>
<div class="p2">
<span class="s4">A:Absolutely not. I like to keep my mind clear.</span></div>
<div class="p4">
<span class="s4"></span><br /></div>
<div class="p5">
<span class="s4"><b>Q: This show’s been in development for 5 years. Have you ever done anything else that took five years?</b></span></div>
<div class="p2">
<span class="s4"><br /></span></div>
<div class="p2">
<span class="s4">A: Other than be a dad, no.</span></div>
<div class="p4">
<span class="s4"></span><br /></div>
<div class="p5">
<span class="s4"><b>Q: Can you tell us about a surprising or memorable moment during the creation of Century Song?</b></span></div>
<div class="p6">
<span class="s4"><br /></span></div>
<div class="p6">
<span class="s4">A: The first time I saw Neema run through what she and Kate had been working on - I was completely flabbergasted at how amazing she was! And so thankful to have been asked to be a part of it. And completely unsure of how anything I could do could make it better.</span></div>
<div class="p6">
<span class="s4"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRkvWinOndnllpx-Vy-VQ4biWFVXvEqAOt9QlI1knjhy5U7eAxP36ML645cgaYspfzFQWA-PkItByNxxHR6QVaanwK6jH6pwM_xfsCdOILOKCudfMlK7Tbsh2hyqyV0dJAYsD8jKjYG8lA/s1600/AMB+-+Sept+2012+-+2.jpg" imageanchor="1"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRkvWinOndnllpx-Vy-VQ4biWFVXvEqAOt9QlI1knjhy5U7eAxP36ML645cgaYspfzFQWA-PkItByNxxHR6QVaanwK6jH6pwM_xfsCdOILOKCudfMlK7Tbsh2hyqyV0dJAYsD8jKjYG8lA/s320/AMB+-+Sept+2012+-+2.jpg" width="320" /></a></div>
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<div class="p6">
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<span class="s4"></span></div>
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<div class="p6">
Check out Deb's incredible work when <i>Century Song</i> opens at The Theatre Centre this January, curated and presented by Volcano Theatre as a part of Progress. Click <a href="http://volcano.ca/production/century-song/" target="_blank">here </a>for more information and to purchase tickets.</div>
<div class="p6">
<br /></div>
<div class="p6">
Use the code EARLY18 before December 25 to get $18 tickets. </div>
<div class="p6">
<br /></div>
<div class="p6">
To learn more about Deb's music you can visit <a href="http://www.debsinha.com/" target="_blank">his website</a> or check out his <a href="http://debsinha.bandcamp.com/" target="_blank">Bandcamp profile.</a></div>
<i><br /></i>
Anonymoushttp://www.blogger.com/profile/11011268221271187109noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-67223941077106611412015-09-24T12:51:00.000-07:002015-10-29T13:32:04.024-07:00A conversation between Debbie Patterson and Matthew Thomas Walker<span style="color: #666666;">Debbie Patterson is an actor/director from Winnipeg. She is a founder and current ensemble member of <a href="http://www.shakespeareintheruins.com/">Shakespeare in the Ruins</a> and a member of the Playwrights Unit at <a href="http://www.pte.mb.ca/">Prairie Theatre Exchange</a>.<br /><br />Matthew Thomas Walker is an actor/director from Toronto. He is a founder and current member of <a href="http://www.litmustheatre.com/" target="_blank">Litmus Theatre</a>. <br /><br />Debbie and Matthew open up their email correspondence with one other, discussing their experience at the 2015 Volcano Conservatory. </span><br />
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Conservatory participants, including</div>
<div style="font-size: 12.8px;">
Debbie Patterson and Matthew Thomas Walker</div>
<div style="font-size: 12.8px;">
Photo by Anthony Gebrehiwot</div>
</td></tr>
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<br />
<b>Hi Debbie,<br /> <br /> I'm so glad to connect again so soon. Now, in the spirit the conservatory, let's get right into it! I thought I'd start us off by asking how you came to take part:<br /> What lead you to sign up this year? And at that point, how did you define yourself as an artist?<br /><br />Matthew</b><br />
<br />
<br />
Hey Matthew,<br />
<br />
So great to hear from you.<br />
<br />
I know a few other people who have taken part in the Conservatory in past years, so I knew it was a great program.<br />
<br />
Then late one night, on my news feed, there was a post from the theatre consultant at the Manitoba Arts Council about Deborah Pearson's workshop. I clicked on the link and found information on the other classes. I wanted to take them all! <br />
<br />
By noon the next day, I had registered, booked my flight, and was busy writing grants to help pay for it all.<br />
<br />
I live in Winnipeg, which has way more going for it than you might think in terms of creating a sustainable life as an artist. But I need to get out every few years to do some professional development. It gives me a chance to bring new ideas, new practices, new approaches back to my peers here. And it allows me to get a little objectivity in terms of assessing my own artistic impulses.<br />
<br />
It also gives me a chance to meet exciting artists (like you, Matt) and strengthen that web of connections that is the Canadian theatre community. <br />
<br />
To answer your second question, my definition of myself as an artist has been in flux for a while. Right now I like the term "theatre maker". It’s an accurate reflection of my practice, which seems to be all over the map!<br />
<br />
For example, right now I’m the lead artist on a dance/theatre/verbatim/installation piece about end of life choices; I'm working with a Congolese woman to create a short play about healthy parenting; I'm preparing to play Richard III next spring; I'm organizing the Winnipeg Wrecking Ball; and I'm writing an adaptation of Robert Munsch stories for Prairie Theatre Exchange. Seriously, all over the map.<br />
<br />
I want to know more about what you're working on. What led you to the Volcano Conservatory? Has the stuff we did influenced your work in the weeks since?<br />
<br />
Debbie<br />
<br />
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<tr><td class="tr-caption" style="text-align: center;"><div style="font-size: 12.8px;">
Collective Creation: a field guide to devising theatre with Stephen O'Connell</div>
<div style="font-size: 12.8px;">
Photo by Anthony Gebrehiwot</div>
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<b>From playing Juliet in Kim </b><b style="background-color: transparent;">Collier's workshop last month to Richard III in the spring... Not bad Debbie. I think that lands you in a very select group of actors! I really love how 'all over the map' your projects are. </b></div>
<b><br /> I had been interested in the conservatory for a while, but due to schedule or money I hadn't been able to take part before. When things lined up this year, I was all over it. I'd just won an award, and wanted to put it towards my professional development, so I went on a bit of a shopping spree at volcano.ca.<br /> <br /> In recent years, my career has shifted away from gigging as an actor to working as a "theatre maker" (I'm stealing your words), mostly as a director and writer. I have two degrees in theatre, but have never trained formally as a director, so I've been drawing on the collective creation techniques I'd been exposed to as an actor. Taking brief workshops has also been hugely valuable in fuelling the fire and evolving my work. <br /> <br /> I got so much out of the conservatory. I was so happy to discover that all our instructors were throwing new ideas at the wall as a way to evolve their own work. I found it inspiring to see such accomplished artists leading us in that state of unknown. <br /><br />As directors, I think there is a trap we can fall into where, with the more experience we gain, the more we feel we have to be an authority on everything. It was heartening to see these Instructors creating structures for us to play within, and then building imaginatively off the magic that would happen in the room. <br /><br />With my company, Litmus Theatre, we throw ourselves huge obstructions in the form of unconventional venues and non-theatrical scripts - as a way to spur our creativity. This fall we're in development for our Brave New World project, which is a big story. Many of the exercises we learned at the conservatory will get put to good use! Can't wait. <br /><br />What were the big take-aways for you? Did our work in the conservatory shift your attitudes about how you define yourself as an artist, or open new doors for what you want to achieve? There's an election coming up? Any plans to run? <br /><br />Matthew</b><br />
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<tr><td class="tr-caption" style="text-align: center;">Movement for Actors with Peggy Baker<br />
Photo by Elee Stalker</td></tr>
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Oh my goodness, this is such a stimulating discussion!<br />
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Yes, I also loved the way the instructors were clearly risking and trying new things. I felt like it gave all of us permission to suck and encouragement to be bold. <br />
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And that notion of creating from a place of unknowing: I've become completely comfortable with that as a performer and collaborator, but I've always been slightly uncomfortable with it when I'm in charge. In those situations I always put this pressure on myself to have a plan and bring everyone else along with me. So realizing that I could just let go of that was a totally liberating discovery. And just to be clear, I still think having a specific, well-drawn plan is important. You still have to do your homework as a director. But once you are in process it's okay to veer off the plan without having a backup or an exit strategy. <br />
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I spent the last two weeks of August in a development workshop of a new script. I wanted to explore the text through movement and imagery so these ideas gave me a new freedom. I was able to take this huge text that I'd spent most of the year working on and just kind of go, "Okay, well this is a suggestion, a point of departure, we might say these words, we might not. Let's just try some shit." It was a little bit terrifying, but we made some amazing discoveries.<br />
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There were a couple of moments in the Conservatory I really loved, and I wonder if you loved them too? There was one time in Ross's workshop when someone made a proposal and Ross paused and said "I'm trying to decide if that idea excites me." Or interests me, or something like that. First of all I love that there was no value judgment in what he said. There was no implication that it was a good idea or a bad idea. His criteria for accepting or rejecting the proposal was unabashedly subjective. I also loved that he gave himself the luxury of time, not to leap to either yes or no but to claim some space for waiting, to remain in a state of uncertainty.<br />
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Another moment I loved was when Kim Collier talked about how we create the world. She didn't just mean the world on stage, she meant The World. And when she said it, I kind of reflected on the vibe she created in the studio. I felt like everyone in the workshop was being incredibly courageous in taking big risks. I don't know if I've ever been in a room like that. Respectful without being precious. Open without being flaky. Everyone did great work. It brought out the best in all of us. <br />
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It's exciting to think what could happen if all of us in that studio took the world that we inhabited in that space and created that world wherever we went. It's easy as artists to just stay in our little artistic circles where people understand us. But civic engagement / being present in society is essential to creating work that is relevant, to creating a world worth inhabiting.<br />
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So yes, there is an election coming up and I have no plans to run for public office. But if I did, I have some big, new ideas about the world that I would create with that kind of platform.<br />
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What about you? Are you planning to throw your hat into the ring? Or just keep your fingers crossed for a Senate appointment? What Brave New World are you creating?<br />
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Debbie<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">Collaborative Art Making for Actors with</span> Kim Collier<br />
Photo by Elee Stalker</td></tr>
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<b>Yes, I also loved those moments! They are beautiful markers of what kind of week it was. One might expect that the workshops would be treated as isolated little bubbles where we would learn the best practices of our teachers in order to SOMEDAY be able to apply them to our work in the real world. Instead, in every class, we were doing work that was engaged with the real world. Whether we were working with Romeo and Juliet, or Hedda Gabler, or examining the week’s headlines dramaturgically with Deborah Pearson, we were always being encouraged to actively address the HERE and NOW and create art from our reactions. Because of this, I too walked out of the conservatory feeling a higher sense of civic engagement and a responsibility to keep that going. <br /> <br /> While I can assure you this didn't translate into a suit and tie or a campaign bus, it instead made me feel incredibly lucky to get to address society in the way that we do; to interact with issues that trouble us through art (images, metaphor, allegory, character)... Using the right brain! It's a great privilege to do the work we do. And a great responsibility to do our part to keep society's right brain healthy!<br /> <br /> Debbie, thank you so much. It has been really nice to chat some more about our time together in studio. I hope we keep this discussion going for many years to come. <br /> <br /> All the very best, <br /><br />Matt</b><br />
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Anonymoushttp://www.blogger.com/profile/11011268221271187109noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-79733986427539038952015-07-17T09:05:00.000-07:002015-07-17T12:54:13.630-07:00Director Kim Collier Explains Why Actors Should Pipe Up During Rehearsal<div class="separator" style="clear: both; text-align: center;">
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Co-Artistic director of <a href="http://electriccompanytheatre.com/" target="_blank">Electric Company Theatre</a> (Vancouver) and Siminovitch Prize winner for theatre direction, <b>Kim Collier</b> guest teaches at this year’s Volcano Conservatory. Her workshop, <i>Collaborative Theatre Making - For Actors</i>, will illuminate ways to prepare actors for rehearsal time with creative leaders and how to be a strong creative force in the rehearsal room.<br />
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<b>Your workshop will encourage actors to participate in the rehearsal process as collaborators, although many actors find it problematic to speak up - believing that their only ‘job’ is to ‘act.’ What are your thoughts on this perception?</b><br />
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I personally view actors as artists and I am very interested in their insights and ideas. I believe the capacity of what is possible in a rehearsal hall goes up when actors feel safe to speak up on more then their role in the play.<br />
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What exactly does it mean to 'ACT?' I think their 'Job' is to think, to question, to engage around the project, or writing in a way that the Actor plays a role in discovering what is possible in a text, or creation period. So often actors only come to deliver a performance as requested. When invited to think about the work in other ways as well…the discussion / exploration can stop. They either are too consumed with the process at hand, or don’t have the skill set to think in these other ways, or perhaps are not comfortable putting their ideas into the room. They also can be very lost when invited to play in a more conceptual way. So I found myself thinking about what might be missing in our training and leadership that does not allow for this “Art Making” kind of actor to thrive.<br />
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If an actor needs all kinds of knowns in order to do their work…then that can halt a creative process. "My character would only do this"….or "my character sees the world this way." Or the actors ask "what am I doing here in this moment exactly?" Or they ask the director: "what does my character want/need here...what is their goal?" Often actors can’t dive in a play unless they have figured many things out…have a safe frame of reference. When the performer can understand a text or a creation process not only from a physiological or intension based process, but also come at the work understanding how a scene can illuminate an idea, then that allows their character presence to help illuminate the moment.<br />
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There is lots to talk about how to have a collage of interrogating voices in a room and still be productive and respectful. It starts with common purpose around a project. If you don’t have that….relinquishing control as a director may not be the right decision. The ensemble of a production really needs to be a true ensemble for this kind of Art Driven Process to thrive.<br />
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<b>What is one thing you find actors struggle with in rehearsals but should definitely speak up about?</b><br />
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I like to create a rehearsal room in which dialogue between the actor and the director is at the core of the process. Like a coach to an Athlete….or as two artists, each with valuable thoughts and instincts around the work and the character. I guess, I would be very unhappy if there was concern about my direction or interpretation around a moment in a production or a section; and if that concern became a green room conversation and bar talk and not part of the rehearsal room with the director. For me, I want the collaboration to be a shared experience where the making of the show, the brilliance that can be found within the material for the audience, is sought together. That together directors and actors and designers and all the team strive for something greater then themselves. We are one in the art making. I don’t deny that the director has the great privilege to often be the creative filter of that collective effort and guides the work hopefully through a unifying vision. I Believe the director has an obligation to have a vision and invite others to join in that vision and that allow that vision to belong to everybody.<br />
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So if an actor wants to raise a concern…they should do it…it is not personal to do so. It is the work.<br />
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<b>Can you share an experience as an actor when you were most involved in the collaborative process? What did you accomplish?</b><br />
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I suppose that would be the <a href="http://electriccompanytheatre.com/" target="_blank">Electric Company</a> show “<i>Brilliant: The Blinding Enlightenment of Nicola Tesla</i>” when I played Katherine Underwood and a Pigeon.<br />
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Hummm….I think what is interesting about our collective creation as a team of actors - creating all parts of the production together - is that a lot of it became script work and idea building in rehearsals, not really acting. And I think what happens when you help create the work you act in, your ownership and life force inside the work is palatable. There is something so beautiful about actors performing their own work. If the audience can feel passion and commitment (which they can), then creation teams are infectious with their audiences. I also think my experience of building shows collectively, that we also acted inside, allowed the projects to be greater then what was possible for any of us alone. The dynamic of many minds coming together was complimentary and pioneering. You would find yourself in places that you would never have arrived at on your own.<br />
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<b>What is your typical preparation process like before first day of rehearsal?</b><br />
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Massive, varied and long. For a play: I read the text very carefully a few times and pay very close attention to my experience of the text. What does it speak to me, how does it resonate for our times and what I am visually seeing and feeling. I note these things, or promise to remember them. I remember what spoke to me in the text…what resonated as there will be much truth for me in what I want to do with the text from those initial impulses that may be lost in reading research and other peoples thoughts on the play. And I can’t direct from others peoples intuition, I can only direct from my own meaning, intuition and understanding and allow it to interact with the others on my team.<br />
After those reads, I research a great deal on everything to do with the play: historically, thematically and on and on. After this period usually 3-5 months I will then be ready to think about how design can help illuminate the material and themes. Set design is very important to me as it connects so powerfully to how the play can unfold kinetically in staging, concepts, ideas and transitions. For me Set Design is at the root of thinking about meaning and character plot and all. It can effect rhythm and pacing and how characters can relate to each other. It is right at the centre of the production building part of my process.<br />
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<b>What is up next for you?</b><br />
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A big holiday, and gathering. I have made a great deal of work these past years. I gave the projects all I had and all I was thinking about at the time. Now I need to gather again. In time I am going to create some work with Daniel Brooks, Michael Healey, and dig into <i>Romeo and Juliet</i>, and some other plays.<br />
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<b>Being that the Conservatory takes place in the middle of summer, what’s your favourite way to treat yourself?</b><br />
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I go to Shuswap Lake in BC and swim, sauna and have some cocktails at sunset. And after some rest, I head for the mountains and backpack into some big, huge, undeniable nature. Every year.Volcano Theatrehttp://www.blogger.com/profile/05842981636478085003noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-1010577689331019332015-07-10T08:03:00.001-07:002015-07-10T08:32:53.337-07:00Stephen O'Connell Debunks the Myths Surrounding Devised Theatre<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Stephen O'Connell, pictured in promotional image for site-specific work It Comes In Waves</td></tr>
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Co-Artistic director of <a href="http://www.bluemouthinc.com/" target="_blank">bluemouth inc.</a>, Stephen O’Connell guest teaches at this year’s Volcano Conservatory. His workshop, <i><b>Collective Creation: a field guide to devising theatre</b></i>, explores some of the essential methods and techniques for collaborating across a variety of artistic disciplines in the absence of a centralized artistic ‘vision’, ‘director’ or authorial voice.<br />
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<b>Are there any common myths about devised theatre that you would LOVE to debunk?</b><br />
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That it is easy. And that it is not rigorous.<br />
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I think audiences sometimes make assumptions about a lack of clarity in devised work. Often audiences use the same criteria for experiencing devised work as they do they do for playwright driven dramas and this seems unfortunate to me. I am not suggesting that devised work needn’t live up to the same standard of excellence as a well made play, but I regard the plurality of voice is often the result of a devised process and is a unique asset rather than a limitation.<br />
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I also believe that educational systems need to start offering training that better prepares young theatre makers for a career in self producing work. In my opinion, there is such an unrealistic emphasis on developing actors for the film and television rather than providing them with the tools needed to develop their own work and the encouragement to project their vision out in the world. <br />
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<b>As a theatre artist, with a professional background in modern dance, do you prefer collaborating with a multi-disciplinary team of performers when creating new work?</b><br />
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Absolutely. I am currently collaborating on a sites-specific project between bluemouth and <a href="http://necessaryangel.squarespace.com/" target="_blank">Necessary Angel</a> and I find it incredibly rewarding to be in a room with a team of people who all consider themselves to be the primary artists. That includes the performers, director, writer, designers and the production team. A brilliant idea can come from anywhere at anytime, and if you are open and listening carefully you will discover it. I enjoy working with people who are generous, sensitive and have a healthy sense of ego.<br />
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I’ve recently had a lot of interaction with highly trained dancers and I find them to be incredibly disciplined and generous with their creativity. Perhaps even to a fault.<br />
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<b>Challenge: describe your workshop in 5 words not already in the title?</b><br />
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Personal, Ambiguous, Expressive, Exhausting and Rigorous.<br />
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<b>NYC is considered a second home for many Torontonians, whether it’s for leisure or career pursuits…was Brooklyn a natural choice for you to build with bluemouth inc?</b><br />
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No. I moved back to New York 10 years ago for very personal reasons. My family lives in New Jersey and I wanted to spend some quality time with my parents. I initially thought it would be very cool to develop work in Toronto and then produce it in New York, but that no longer interests me. I think New York is a very tough place to live and an even tougher place to develop your craft as an artist. There is such a sacristy of resources. The companies who inspire me like the Wooster Group or Elevator Repair Service are all working with very limited resources. Individual companies are forced to huddle around their individual fires making it challenging to nudge your way into their circle. Not impossible just really challenging. Resulting in a lesser sense of artistic community that I personally need to creatively survive. <br />
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I mean I love going to see world-class international work with frequency. I live a block away from the Brooklyn Academy of Music and on any given Friday night something amazing is happening there, but there are also many amazing international companies coming to Toronto. <br />
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<b>We are excited to partner with the <a href="http://theatrecentre.org/" target="_blank">Theatre Centre</a> as the venue for this year’s Volcano Conservatory - what do you think about their new space?!</b><br />
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I love the new Theatre Centre, but I am also in love with the Theatre Centre in general. The Theatre Centre was the first organization to offer bluemouth help when we first arrived in Toronto. David Duclos was the Artistic Director at the time. I met him at an Inter Disciplinary symposium in Montreal. He was the first person we contacted when we arrived in Toronto and he immediately opened his doors to us. The Theatre Centre helped produce all of the early bluemouth shows and connected us to a community of like-minded artists. hen when Franco Boni became the Artistic Director our relationship to the Theatre Centre continued and became even deeper. bluemouth became one of the first resident companies and their support helped to lift us up to the next level. <br />
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<b>Where is your favourite spot in the city during the summer?</b><br />
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Toronto Island is pretty awesome in the summer time. I love the fact that you can hop on a ferry and in 10 minutes suddenly feel like you are miles away from the city. Trinity Bellwoods Park is also pretty special. Perhaps you can start to see the trend. These are both places where bluemouth has done site-specific shows. <br />
<br />Volcano Theatrehttp://www.blogger.com/profile/05842981636478085003noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-68403130618214250682015-06-19T12:46:00.001-07:002015-06-19T12:46:18.017-07:00Recap: Finding the Right Fit, an artist development talk<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">From L to R: Adiyana Morris, Franco Boni, Mumbi Tindyebwa, and Ross Manson</td></tr>
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Mondays in theatre are usually known as 'dark days,' being the one day of the week the theatre is closed. But those who came out on Monday, June 15 to <i><b>Finding the Right Fit: How a Life in Art Happens</b> </i>were illuminated. A mixed group of theatre artists - youngish to oldish, students to working professionals, directors and arts administrators - came out to hear from three of Toronto's boldest artist directors.<br />
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Guest speakers, Franco Boni (<a href="http://theatrecentre.org/" target="_blank">Theatre Centre</a>), Mumbi Tindyebwa (<a href="http://ifttheatre.com/" target="_blank">IFT Theatre</a>), and Ross Manson (<a href="http://volcano.ca/" target="_blank">Volcano Theatre</a>), happily shared their career experiences and industry tips for an hour long talk. Moderator Adiyana Morris, Volcano's current Metcalf Arts Management Intern, led the discussion in the upstairs lobby of The Theatre Centre.<br />
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The informal conservation included topics of mentorship, leadership, childhood ambitions and failure. Each question was framed by a famous and provocative quote to get the speakers and audience thinking. It was an engaging discussion that organically unraveled into an open discussion with the speakers asking each other questions and the audience following-up on statements.<br />
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<tr><td class="tr-caption" style="text-align: center;">Audiences members had good laugh</td></tr>
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There were many highlights, including when Adiyana asked the speakers about their formative years and how they found themselves in theatre. Franco admitted to having no recollection of memories prior to Gr. 3 but from that point on he described himself as bossy and a natural organizer. Picturing Franco as a dictator-esque 3rd Grader got the conversation off to a great start. Yet is was even more interesting to find out that his first leadership position that had the most impact upon him was heading to the Rhubarb Festival, entrusted to him at age 28. Franco also spoke candidly about spearheading the $6.2 million capital campaign to house the brand new Theatre Centre. He admitted to constantly tackling challenges that can feel like day to day failures, but, all in all, his dedication to putting the art first is a testament to his successful career. </div>
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Mumbi made great points around audience engagement and making theatre representative of the communities you are trying to attract. She believes that artists and producers should focus more about how their content relates to the audience than how much the ticket price is. Her example was that the same person who you think can't afford your ticket is willing to shell out $100 for a Jay-Z concert..which goes for low and high income earners. Hence, it's less about price and all about demand.</div>
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Ross made an interesting analysis what he considered failure as an artistic director and conceptualized it in three ways: 1. failure of a project (which is sometimes a good thing if the idea inevitably doesn't float); 2. failure of a relationship between two peers or producing partners (which can really suck); and 3. failure of a one's ego (the suckiest of them all). His honesty put things in perspective in the realm of leadership and risk.<br />
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<tr><td class="tr-caption" style="text-align: center;">Who do you think had the last word...?!</td></tr>
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The conversation closed with some useful tips. The speakers suggested that participants think about reaching out to a mentor they really admire, and to share a new idea with a peer sooner rather than later. Basically, best Monday ever!</div>
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A special thanks goes out the Theatre Centre for hosting the talk and all three (amazing) guest speakers!<br />
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Ross Manson will be leading <b>The First Two Days: Utility, Respect and the Right Brain</b>, a professional development course at The Volcano Conservatory (July 31 - August 2). To register and/or find out more about his course (and others) click <a href="http://volcano.ca/education/the-volcano-conservatory/#registration" target="_blank">HERE</a>.</div>
Volcano Theatrehttp://www.blogger.com/profile/05842981636478085003noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-64095629549579433412015-05-07T08:41:00.000-07:002015-05-12T06:17:52.797-07:00Deborah Pearson talks Experimental Performance - it's a lot simpler than you think<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;">Live Artist Deborah Pearson guest teaches at this year's Volcano Conservatory. Her workshop, <i>Dramaturgy, Narrative and Structure in Experimental Performance</i> looks at the unique ways in which contemporary performance can address our preoccupations with narrative. </span></div>
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<b>Did you always question conventional theatre elements, like three act structures, and what made you gravitate towards experimental performance?</b></div>
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I guess you could say I have always gravitated towards what frequently gets called "experimental performance" because of one aspect of my work that is not "experimental" at all, but that is really at the heart of a lot of very old theatre. I just can't get over the fact that the audience is there. I have always wanted to address them, to play with them, to hang out with them. I don't know how to ignore them. I really admire work that adheres to this "ignoring the audience" convention and somehow still manages to feel theatrical and moving and live. But the truth is, work that firmly stays behind the fourth wall while genuinely effectively reaching out to its audience is very rare. It's a convention that is very difficult to explore effectively. Even Shakespeare doesn't do it! And I think this is because the very thrilling thing about theatre is of course the fact that the audience is there in the room with you. When you think about it, not acknowledging that is a highly unusual thing to do. It's only the prevalence of fourth wall theatre (some of it very lazy and bad) in the last sixty years or so that has made us think of that approach as traditional. It's actually a very weird thing to do, and I think it only really justifies itself as a form once every five years or so. A truly stirring "well made play" is that rare. </div>
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That said, the "Three Act Structure" is not the property of fourth wall theatre. It's the property of the human cognitive process. We organize every experience we ever have into a "beginning, middle and end." We may not remember them in a chronological order in terms of actual time - but things begin, they happen, they end. It's a very simple thing to keep in mind, but a very useful way to conceive of building an interesting experience for an audience. How do you want it to begin? What do you want them to reach deeper into once they've entered? And how do you want it to end? What do you leave them with? The "Three Act Structure" has been conflated with Hollywood narratives, but that's just one approach to that structure. It comes from Aristotle's Poetics, and all he specifies is that nothing comes before the beginning, the middle follows, and nothing comes after the end. There's nothing about a climax or inciting incident or Hero's quest. It's just those three very simple components - but they're very useful to keep in mind when making work.</div>
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<b>You mentioned theatre being preoccupied with Representation, Conflict, Arc, and Meaning/Message. You mean there’s more to a story?!</b></div>
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Ah you may have misunderstood my use of the word "preoccupation." I don't mean that preoccupations are negative or positive. They're just there. I don't think that there's more to a story than a beginning, middle and end. But I also think that those three categories are HUGE - so why should there be? Representation, Conflict, Arc, and Meaning/Message are all things that we may expect to exist within that beginning-middle-end structure - they're cultural baggage, and we can play with that cultural baggage in interesting ways if we want to. Theatre Replacement, New World and Chris Abraham made the show Winners and Losers, for example, and really toyed with the audience's preoccupation with Conflict. But they didn't approach it uncritically - they made the audience sit with that preoccupation and dig deep into it, and a lot of incredible insights came out of that deceptively simple premise. I'm not sure "more to the story" is the right way to navigate the preoccupations I bring up. They're very rich and problematic elements of narrative interest. We don't really need more - but if we think deeply about them, we will find more.</div>
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<b>As an associate artist with Volcano Theatre, how have you grown with the company over the years - as the lead on inFORMING CONTENT and having worked as the librettist for Synonym for Love?</b></div>
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I owe a lot to <a href="http://volcano.ca/" target="_blank">Volcano</a>. Ross Manson and Kate Alton gave me my first professional job in the theatre, as their research assistant on <a href="http://volcano.ca/production/the-four-horsemen-project/" target="_blank"><i>The Four Horsemen Project</i></a>. I remember thinking it was really cool and totally strange. I hadn't ever seen anything like it before, but I loved it. I think one of the reasons that I love working with Volcano is the incredible variety of projects that they make, and the amazing but excellent risks and opportunities they take with their artists and with their form. When Ross asked me to write a libretto for the company I joked that it was like he'd asked me to build a cabinet. I had no idea how to do it. I learned on the job. And it was one of the most fun and interesting things I've ever had the privilege of doing. I learned how to read music, and over the years have gone from someone with no musical knowledge at all to someone who can play the guitar. A Synonym for Love really sparked that desire to learn in me. But I didn't necessarily stand out, because everyone involved was doing something totally new and challenging for them with that project. Even the orchestra had to figure out how to accompany an opera that was moving around a hotel! I love Volcano because it's a company that genuinely prizes risk and experimentation, and encourages other artists to take risks too. It's worth mentioning that I moved to Europe on Ross's advice, and that was a great risk to take.</div>
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<b>As the co-founder and co-director of Forest Fringe, would you consider festivals safe spaces for experiential work?</b></div>
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It depends on the festival. <a href="http://www.forestfringe.co.uk/" target="_blank">Forest Fringe</a> is a venue that exists at the Edinburgh Fringe Festival, which is the biggest experimental theatre festival in the world. So asking whether or not experimental work is safe at the fringe is sort of like asking if a baby is safe in New York City. It depends on the apartment and it depends on the parents. I wouldn't just drop your baby anywhere. There are a lot of wonderful venues taking very good care of artists at the Edinburgh Fringe Festival. Equally, there are a lot of smaller festivals, like Fusebox, PuSh, FTA and Offta, and I hear that Progress was great too, that really look after artists. Generally speaking, the smaller a festival is, the more support it will have for artists, and the less it will resemble a shopping mall of work. It's a very sad thing as an artist to feel like you're selling a product. It's necessary sometimes, and often true, but also necessary I think to convince yourself that it isn't happening. That's the only way to keep the work good.</div>
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<b>What is one thing you miss about living in Toronto since moving to London? </b></div>
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I miss biking. I have a bike in London but it is a terrifying place to do it. When the weather is nice in Toronto, if you know the back alleys well, getting from one place to another can be the best part of your day. Something about how much fun it is to bike there really sums up a lot of more abstract and atmospheric things that I miss about living in Toronto. I think it's a really healthy place to live, with a lot of love and good feeling. I'll always miss it. And when I miss it most I think about biking down a sunny leafy street somewhere in Little Portugal.</div>
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Volcano Theatrehttp://www.blogger.com/profile/05842981636478085003noreply@blogger.com0tag:blogger.com,1999:blog-4091933113451487234.post-83974718034467856772015-04-06T14:02:00.000-07:002015-04-08T12:38:29.495-07:00Infinity Reviews<h3>
We've just opened <i><a href="http://volcano.ca/production/infinity/" target="_blank">Infinity</a>, </i>our co-production with Tarragon Theatre. So far the audience and critics are loving it! Below are a few reviews. As new reviews come out, we'll be sure to continue posting here. If you've had the chance to see <i>Infinity</i>, tell us your thoughts in the comment section below.</h3>
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<b><a href="https://nowtoronto.com/stage/theatre/review-infinity/" target="_blank">NOW</a></b></div>
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Review by Susan G. Cole</div>
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<i>“Brilliant; makes you feel as much as it makes you think”</i><br />
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<tr><td class="tr-caption" style="text-align: center;">Photo by Cylla von Tiedemann</td></tr>
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<b><a href="http://www.theglobeandmail.com/arts/theatre-and-performance/theatre-reviews/had-we-but-world-enough-and-time/article23790128/" target="_blank">The Globe and Mail</a></b></div>
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3/4 stars</div>
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Review by: J. Kelly Nestruck</div>
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<i>“Infinity shifts from a play of ideas to a family drama – and it’s a beautifully acted one...”</i></div>
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<tr><td class="tr-caption" style="text-align: center;">Photo by John Lauener</td></tr>
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<a href="http://www.thestar.com/entertainment/stage/2015/04/02/infinity-a-fine-family-drama-with-cerebral-spin-review.html" target="_blank"><b>The Star</b></a><br />
Review by: Carly Maga<br />
3.5 / 4 stars<br />
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<i><span class="s1">"</span>Moscovitch... is visceral. And the acting from Braunstein, Rutherford and especially McGee is extremely affecting."</i></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8000001907349px;">Photo by Cylla von Tiedemann</span></td></tr>
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<b><a href="http://www.mooneyontheatre.com/2015/04/03/review-infinity-tarragon-theatre-and-volcano-theatre/#more-24151" target="_blank">Mooney on Theatre</a></b></div>
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Review by: Dorianne Emmerton</div>
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<i>“I loved the interplay between real-world relationship dynamics and high concept physics.”</i></div>
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<b><a href="http://torontostage.com/infinity/" target="_blank">Toronto Stage</a></b></div>
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<i><span class="s2">“[Ross Manson] </span>captures Infinity’s sequence of events in arousing intervals.”</i></div>
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<a href="http://thetheatrereader.squarespace.com/reviews/2015/4/6/infinity-a-monster-of-a-play-thatll-chew-you-up-and-keep-you-there" target="_blank"><b>The Theatre Reader</b></a><br />
Review by: Veronica Appia<br />
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<i>"This play is as brilliant as it is haunting - a perfect combination of music, math and science that doesn't make your head hurt, but manages to makes your heart hurt."</i><br />
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<b><a href="http://www.slotkinletter.com/site/" target="_blank">The Slotkin Letter</a></b><br />
<i>"Director Ross Manson has created a production of seamless collaboration..."</i><br />
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<b><a href="http://paulacitron.ca/theatre/theatre-review-tarragon-volcano-theatreshannah-moscovitchs-infinity/" target="_blank">Paula Citron.ca</a></b><br />
<i>"superb"</i><br />
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<b><a href="http://www.theatromania.ca/news/infinity" target="_blank">Theatreomania</a></b><br />
4 stars<br />
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<b><a href="http://mytowncrier.ca/arts/an-infinitely-great-evening-at-the-tarragon/" target="_blank">Town Crier</a></b><br />
<i>"infinitely great"</i><br />
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If you haven't had the chance to see <i>Infinity</i>, join us at the Tarragon Theatre before it closes on May 3. Select dates have very limited seating so <a href="https://tickets.tarragontheatre.com/TheatreManager/1/online" target="_blank">book today</a>! </h3>
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<u>Discounts</u></h3>
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1. Anyone under the age of 35 can book $22 tickets for April 1 - 22 performances with the coupon code "Tarragon22"</h3>
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2. Artsworker and students tickets are available for $29</h3>
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3. Rush tickets are available for $15, two hours before showtime at the box office. Limited availability.</h3>
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