bluuebunny/crossref_metadata_2025 huggingface dataset:
What about a Disability Rights Act for Canada?: Practices and Lessons from America, Australia, and the United Kingdom
Authors: Prince Michael J.
Published: March 2013

The Harper government and most national political parties are committed to a federal act for dealing with accessibility rights for persons with disabilities. The purpose of this article is to identify progressive lessons from countries with similar legislation for consideration by Canadian authorities. Countries surveyed are the United States, Australia, and the United Kingdom. While disability rights legislation is widely accepted to be a necessary policy initiative in light of ongoing barriers and exclusion, experience suggests that such laws are far from a sufficient response to promote access. Other policy instruments required include supportive employment programs, tax incentives, and the direct provision of basic supports.
A Curious Jumble: The Canadian Approach to Online Consumer Health Information
Authors: Harr Roma , Bella Leslie
Published: March 2013

As part of a larger e-health strategy, Canadian governments have invested millions in online health information services for the lay public. These services are intended to reduce demands on the primary health care system by encouraging greater individual responsibility for health and are often promoted using the language of personal empowerment. In this paper, we describe how lay searchers generally look for online health information and discuss the disempowering challenges they are likely to face in (a) locating Canadian government-sponsored health information sites and (b) finding useful information on these sites to address everyday health concerns. We conclude with several recommendations for policy changes.
La participation sociale des Canadiens: une analyse selon l’approche des parcours de vie
Authors: Gaudet Stéphanie
Published: March 2013

La participation sociale des Canadiens a significativement chuté entre 1992 et 2005. L’approche des parcours de vie peut nous permettre d’avoir une meilleure compréhension de ce changement, et ainsi éclairer les décideurs dans la création et la mise en place de politiques qui encourageraient la participation des individus au sein de leur collectivité. Jusqu’à maintenant, on a peu intégré la dimension collective à la conception de telles politiques et aux analyses longitudinales déjà faites au Canada. Dans cet article, nous proposons un indicateur qui permet d’intégrer à l’approche des parcours de vie cette dimension qu’est le rapport des individus à la collectivité, sans négliger l’analyse centrée sur les individus. Nous utilisons ainsi le concept de participation sociale, défini comme un don de temps à des individus ou à une organisation, afin d’analyser la contribution à la fois formelle (bénévolat) et informelle (entraide) des individus. Pour ce faire, nous avons recours aux données de l’Enquête sociale générale (ESG) sur l’emploi du temps de 1992, de 1998 et de 2005, de Statistique Canada, afin de comprendre l’évolution des pratiques de participation sociale pendant les différentes périodes de la vie des Canadiens.
Public Policy and Aboriginal Peoples in Canada: Taking a Life-Course Perspective
Authors: Cooke Martin , McWhirter Jennifer
Published: March 2013

The health and social conditions of First Nations, Inuit, and Métis peoples in Canada remain important policy concerns. The life course has been proposed by some as a framework for analysis that could assist in the development of policies that would improve the economic and social inclusion of Aboriginal peoples. In this paper we support the goal of applying a life-course perspective to policies related to Aboriginal peoples but suggest that the framework needs to consider the unique relationship between Aboriginal peoples and public policies. We provide some illustrations using data from the 2001 Aboriginal Peoples Survey.
Failures in Children’s Protection in Newfoundland and Labrador: From the Hughes (1991) to Markesteyn and Day (2006) Inquiries and Beyond
Authors: Devine Mike , Kimberley Dennis
Published: March 2013

The death in 2003 of Zachary Turner, a child in receipt of children’s protection services in Foxtrap, Newfoundland, sparked an independent inquiry into his death. Subsequently, other reviews were completed of children’s protection services. These were not the first reviews or inquiries of this kind in Newfoundland and Labrador. In 1991, Justice Samuel Hughes had conducted a public inquiry into children’s protection services. This article is a critical historical analysis of selected aspects of children’s protection services. The authors uncover repeated failures by government in its child protection systems and discuss implications for future concerns.
Reconsidering Rap’s “I”: Eminem’s Autobiographical Postures and the Construction of Identity Authenticity
Authors: Lee Katja
Published: March 2013

The discourse of authenticity in rap has been and continues to be bound up in the performance of self. This paper examines the extraordinary potential for playing with subjectivity already available in the genre in order to map Eminem’s success in renegotiating rap’s constructions of identity authenticity to make space for his white body and his success in posturing a multiple, subversive, sometimes fictional, and yet still autobiographical “I.” Eminem’s seeming mandate to ensure that all modes of self-representation are equally valid necessitates a careful study of his response to how the media and his fans absorb, reflect, and imitate his performances of self. The malleability of Eminem’s “I” allows us to chart the assumptions that govern contemporary rap’s discourses of authenticity and truth-telling and to gain insight into what hip hop considers legitimate representations of selfhood.

Le discours sur l’authenticité du rap a été et continue d’être lié à la performance du moi. Le présent article examine le potentiel extraordinaire d’un jeu subjectif déjà disponible dans le genre afin de suivre le succès d’Eminem en renégociant les constructions du rap sur la véritable identité afin de faire de la place pour son corps blanc et d’illustrer avec son corps un « Je » multiple, subversif, parfois fictif, mais toujours autobiographique. Le mandat apparent d’Eminem visant à s’assurer que tous les modes d’autoreprésentation sont également valides exige une étude minutieuse de sa réponse à la façon dont les médias et ses admirateurs absorbent, reflètent, et imitent ses performances du moi. La malléabilité du « Je » d’Eminem nous permet de faire un tableau des hypothèses qui régissent les discours contemporains du rap sur l’authenticité et le partage des faits et pour avoir une meilleure idée de ce que le hip hop considère comme des représentations légitimes de l’indépendance.
What Is the Highest Form of Patriotism?: I Say Acknowledging Our Addiction to Patriotism
Authors: Bird Michael Yellow
Published: March 2013

Since the United States’s illegal invasion and occupation of the sovereign nation of Iraq on 20 March 2003, I have published papers that critically interrogate the participation of the “sovereign” US Indigenous nations in this unjust, illegal, imperialistic war. Due to my writings, on 24 June 2007, I was invited to make a presentation at a peace vigil and rally focusing on “What Is the Highest Form of Patriotism?” The speech that I gave is provided in full text in this article, where I probe the United States of America’s addiction to patriotism by interrogating and “defying the lies” of some of US patriotism’s most cherished ideas, documents, leaders, and slogans. I end with a slight twist of the words of the third Buddhist noble truth, freedom from the addiction to patriotism is possible in this lifetime .

Depuis l’invasion et l’occupation illégales de la nation souveraine de l’Iraq par les États-Unis le 20 mars 2003, j’ai publié des articles critiques sur la participation des nations autochtones ‘souveraines’ des États-Unis à cette guerre impérialiste, illégale et injuste.À la suite de mes articles, j’ai été invité le 24 juin 2007 à faire une présentation lors d’une veille et d’un ralliement pour la paix intitulée « Quelle est la plus haute forme de patriotisme » (What Is the Highest Form of Patriotism?). Le présent article reproduit dans son intégralité l’allocution que j’ai donnée à cette occasion, où j’ai cherché à approfondir l’attachement des États-Unis d’Amérique envers le patriotisme en posant des questions et « en mettant au défi les mensonges » véhiculés par certaines des idées qui leur sont les plus chères et par certains de leurs documents, leaders et slogans. Je termine en paraphrasant légèrement la troisième noble vérite 343 bouddhiste, il est possible de nous libérer définitivement de notre dépendance envers le patriotisme au cours de la présente génération .
Patriots,Villains, and the Quest for Liberty: How American Film has Depicted the American Revolution
Authors: Rhoden Nancy L. (Nancy Lee)
Published: March 2013

This study of a dozen American films featuring the American Revolution (released 1939–2002) evaluates the major characters (patriots and loyalists), diverse plots, and various social/class themes. Cinematic and popular culture understandings of the revolution are compared with the interpretations of historians to reveal thematic consistencies, noteworthy variations, and conceptual gulfs between filmmakers and historians. Cette étude portant sur une douzaine de films américains qui touchent la révolution américaine (sortis de 1939 á 2002), analyse les principaux personnages (patriotes et loyalistes), les différentes intrigues et de nombreux thèmes liés aux classes sociales. Les représentations de la révolution américaine dans la culture populaire et la culture cinématographique sont comparées aux interprétations des historiens afin de faire ressortir les points communs, les différences notables et le fossé conceptuel qui existe entre les cinéastes et les historiens.
“The Man Without a Country” and America’s Post-war Crisis of National Belonging
Authors: Gibian Peter
Published: March 2013

Hale’s “The Man Without a Country” turns on itself: The Man without a Country emerges not as the story’s one-dimensional villain but as its complex hero—a new sort of cosmopolitan patriot. With its powerful evocation of sentimental attachment to the figure of the American expatriate voyager, Hale’s tale reflects the author’s struggle to re-assert the sentimental power of an imagined community in the new context of a wide-ranging global existence. Hale may have begun writing in response to the crisis of national belonging triggered by the Civil War, hoping that this piece of invented folklore would reinforce or restore an older mode of bounded American national self-definition, but “The Man without a Country” in fact anticipates the outline of an alternative vision and stance reflecting the new international situation emerging over the course of the 19th-century—giving us a prescient portrait of an American identity that finds itself most fully in trans-national situations
The Man Without a Country de Hale se retourne contre lui-même : The Man Without a Country n’apparaît pas comme le scélérat unidimensionnel de l’histoire, mais comme un héro complexe – une nouvelle sorte de patriote cosmopolite. Grâce à sa puissante évocation d’un attachement sentimental au personnage du voyageur américain expatrié, l’ouvrage de Hale reflète la lutte de l’auteur qui cherche à réaffirmer la puissance sentimentale d’une communauté imaginaire dans le nouveau contexte d’une vaste existence globale. Hale peut avoir commencé à écrire afin de répondre à une crise d’appartenance nationale déclenchée par la guerre de Sécession, en espérant que cette pièce de folklore inventé permettrait de renforcer ou de restaurer un ancien mode d’autodéfinition nationale américaine fermée, mais The Man without a Country anticipe de fait les grandes lignes d’une autre vision et façon de faire qui reflètent la nouvelle situation internationale émergeant durant le 19e siècle – et nous offre un portrait prescient d’une identité américaine qui se retrouve le mieux dans des situations transnationales.
"It's Almost Like Being There": Speculative Fiction, Slave Narrative, and the Crisis of Representation in Octavia Butler's Kindred
Authors: Flagel Nadine
Published: March 2013

Octavia Butler's novel Kindred (1979) combines characteristics of two primary genres: slave narratives and speculative fiction. Employing the conceptual framework of métissage , the article examines the interaction of generic attributes. Some generic qualities simply overlap. More frequently, Butler's novel imaginatively defamiliarizes and revitalizes each generic cluster of attributes as a critique of the other. Such a critique often pushes toward the literal: for instance, speculative fiction's latent investment in aliens and the master-slave dialectic is made manifest; slave narratives' reliance on literacy is exposed. The novel's commitment to reinvigorating perceptions of slavery complicates and compromises certain types of representation—particularly literary or discursive representation—thus contributing to a crisis of representation characteristic of black feminist postmodernity. Le roman d'Octavia Butler Kindred (1979) combine les caractéristiques de deux genres principaux : récit d'esclave et littérature de l'imaginaire. Se plaçant dans le cadre conceptuel du métissage, cet essai se penche sur l'interaction des attributs de genre. Certaines qualités génériques se recoupent simplement. Plus souvent, avec une grande originalité de l'imaginaire, le roman d'Octavia Butler défamiliarise et revitalise chaque ensemble d'attributs d'un genre comme critique des attributs de l'autre. Une telle critique force souvent vers le littéral : par exemple, l'attachement latent de la science-fiction aux extra-terrestres et à la dialectique maître-esclave est rendu manifeste ; la dépendance des récits d'esclaves à la maîtrise de la langue écrite est mise à nu.
Rhetoric of Wounds: Trauma, Identity, and Interpersonal Relationships in Chuang Hua's Crossings
Authors: Nadon Natalie
Published: March 2013

Chuang Hua's Crossings is a novel that reflects the pressures on individuals and families as they struggle to make a life for themselves in exile, both literally and metaphorically. As the protagonist, Fourth Jane's own emotional and psychological wounds reflect those of her Chinese-American Family, as they attempt to find a sense of stability and cultural identity in spite of being displaced from China, their home, and their culture. Each in their own way, the characters of Crossings try to reconcile their prescribed roles within traditional Chinese culture, with their changing lives and surroundings in Europe and America. The medical imagery, as well as the images of blood and wounds in the text, reflect this need for stability and healing. The characters of Fourth Jane, Dyadya, and Ngmah frequently employ the comforting familiarity of medicine, traditions, and rituals to heal their inner wounds and find a sense of belonging. Crossings de Chuang Hua est un roman qui traite des pressions exercées sur des personnes et sur leurs familles alors qu'elles luttent pour se construire une vie en exil, dans un sens tant littéral que métaphorique. À titre de protagoniste, les propres blessures émotionnelles et psychologiques de Fourth Jane reflètent celles de sa famille chinoise-américaine, alors qu'elles tentent de trouver un sentiment de stabilité et une identité culturelle malgré leur déplacement de la Chine, leur pays natal, et leur culture. Chacun à sa façon, les personnages de Crossings tentent de réconcilier les rôles qui leur sont dévolus avec la culture chinoise traditionnelle, et leur changement de vie et d'environnement en Europe et en Amérique. L'imagerie médicale, ainsi que les images de sang et de blessures dans le texte reflètent ce besoin de stabilité et de guérison. Les personnages de Fourth Jane, Dyadya et Ngmah, ont fréquemment recours à la familiarité de la médecine, des traditions, et des rituels, pour guérir leurs plaies intérieures et trouver un sentiment d'appartenance.
Courting Truth: A Meditation on Lawyer Shows, the Public Expectation of Lawyers, and Techniques of Persuasion in an Episodic World
Authors: Leung Parie
Published: March 2013

First tracing the background of Canada's "Lawyers' Show" and describing the show's Vancouver 2009 rehearsals, PARIE LEUNG moves outward to raise provocative questions about the role of media in the public imagination of law practice, and about the relationships among fiction, truth, theatrical verisimilitude, and persuasion.
“Moments You Just Cannot Write”: Suitcase In Point Theatre and the Spectacle of Improvisation
Authors: Fischlin Daniel
Published: March 2013

Suitcase In Point theatre in St. Catherines, Ontario bridges music and theatre through collaborative exploration, risk-taking, and alternative forms of civic engagement, writes DANIEL FISCHLIN .
Papier
Authors: Moncton-Sable Le Collectif
Published: March 2013

Over many months LE COLLECTIF MONCTON-SABLE tore, ripped, shredded, taped, folded, crinkled, wrapped, licked, ate, cut, and handled paper like never before. What emerged from this is a playful and provocative piece of theatre—and a general ambiance of productive anarchy.
Complexion as Metaphor: Eco-Satire in The Pochsy Plays
Authors: Derksen Celeste
Published: March 2013

Celeste Derksen takes a close look at Pochsy's picture-perfect complexion and discovers a distinctly "greenish" hue.
You Can't Get There From Here Redux (The Essay)
Authors: Platt Liss
Published: March 2013

Liss Platt "complicates notions of good-versus-bad health" through a story told on celluloid made possible by "an active body struggling to get that story told."
Going to the Centre: Performance Works and Other Thoughts
Authors: Claxton Dana
Published: March 2013

Performance artist Dana Claxton considers how performance can "shatter trauma" and allow people to breathe.
Children and Bad Mothers: Breast Cancer and Constructions of Femininity
Authors: Moser Marlene
Published: March 2013

In her examination of judith Thompson's Capture Me , Marlene Moser demonstrates the ways in which representations of cancer in the social sphere often build expectations of how we should experience illness.
Using Performative Art to Communicate Research: Dancing Experiences of Psychosis
Authors: Boydell Katherine
Published: March 2013

Senior scientist Katherine Boydell examines the collaborative process between researchers and artists in conveying the lived experiences of young people with first episode psychosis.
"A Precise Instrument for Seeing": Remembrance in Burning Vision and the Activist Classroom
Authors: Hargreaves Allison
Published: March 2013

Marie Clements' 2002 play, Burning Vision , challenges teachers and students to remember our shared histories with a difference. But it also poses a problem: how model critical memory practices to a group of students eager to make sense of complex problems and move on? ALLISON HARGREAVES examines the risks and rewards of Clements' work in the activist classroom.
Applied Theatre and/as Activism
Authors: Prendergast Monica
Published: March 2013

MONICA PRENDERGAST speaks with eight current and former faculty members and graduate students from the University of Victoria's new Applied Theatre program, and discovers that, sometimes, activist pedagogy needs to be moved out of the classroom studio and into the community.
The ICE Approach: Saving the World One Broken Toaster at a Time
Authors: Renyk Grahame , Stephenson Jenn
Published: March 2013

GRAHAME RENYK and JENN STEPHENSON of the drama department at Queen's University discuss their use of the ICE method in a first-year theatre studies classroom. Although Renyk and Stephenson use ICE for assessment, here they explore how the technique can be employed in assignment design, challenging learners to take both initiative and pleasure in their own learning.
"Elder up!": A Mentor/Mentee Memoir
Authors: Beagan Tara
Published: March 2013

Teaching isn't always for teachers, and learning isn't exclusive to students; sometimes, the activist classroom is carried in bodies, hearts, and minds across cultural, generational, and national divides. TARA BEAGAN, the newly appointed Artistic Director of Native Earth Performing Arts in Toronto, remembers her mentors and considers her own process of coming-to-elderhood.
A Pedagogy of Justice
Authors: Keleta-Mae Naila
Published: March 2013

In university classrooms where art is both subject and praxis, canon and methodology frequently converge to reproduce asymmetrical systems of power. The disruption of these systems is arduous and rewarding work, work that requires a committed consortium of students, teachers, and extended community. NAILA KELETA-MAE explores the risky business of building a pedagogy of justice in which both teacher and student agree to let go of the moorings that tether their worldviews.
Local and Transnational Dialogues on Memory and Violence in Jamaica and Toronto: Staging Letters from the Dead among the Living
Authors: Ford-Smith Honor
Published: March 2013

The increasing number of working men and women dying in Jamaica profoundly affects poet, director, and scholar HONOR FORD-SMITH . She discusses here a project of public mourning and witnessing that responds to media images and intervenes in the amnesia that normalizes violence.
The Bridge: Toward Relational Aesthetic Inquiry in the Montreal Life Stories Project
Authors: Sajnani Nisha , Linds Warren , Ndejuru Lisa , Wong Alan , Of Members
Published: March 2013

Nisha Sajnani, Warren Linds, Lisa Ndejuru, Alan Wong, and Members of the Living Histories Ensemble document their adaptation of Playback Theatre to connect the actors' experiences with those of the audience-tellers.
Squaw Hall—A Community Remembers
Authors: Harwood Nicola
Published: March 2013

The history of an open air dance hall in Williams Lake, B.C. acts as the touchpoint for a story collection project by Aboriginal and Métis youth. NICOLA HARWOOD reflects on the challenges of artists who "come from away" working to earn the trust of a community.
Anne Made Me Gay : When Kindred Spirits Get Naked
Authors: Rowe Rosemary
Published: March 2013

2008 marked the 100th anniversary of the publication of L.M. Montgomery’s classic Canadian novel Anne of Green Gables . To celebrate this event two lesbians created a cabaret by and for queer lovers of Anne, the red-headed snippet who taught us to live passionately, speak eloquently, and really dig on other girls. Rosemary Rowe tells the story of that cabaret.
''An Act of Bravery'': Queer Women's Performance in Contemporary Nova Scotia
Authors: Barker Roberta , Shawyer Susanne
Published: March 2013

Roberta Barker and Susanne Shawyer examine the work of Mary Ellen MacLean and Lee-Anne Poole, two Nova Scotian artists who explore multiple notions of queerness through innovative theatrical languages.
Getting Kinky Inside and Outside: A Conversation with Trey Anthony
Authors: Dénommé-Welch Spy
Published: March 2013

Superstar playwright and actress Trey Anthony opens up to Spy Dénommé Welch about representation and identity in Canadian theatre, and shares her insights into the spiritual impact of storytelling.
Companioned Solos: Nathalie Claude's Trilogie de la folie
Authors: Hurley Erin
Published: March 2013

Erin Hurley reflects on the inventive experiments of veteran avant-garde artist Nathalie Claude, outlining her solo performance process and her relationship to the “things” with which she works.
Queer Women's Performance Symposium
Authors: Newman Laine
Published: March 2013

On 1 July 2011 Moynan King brought together fourteen queer artists to discuss their work and their goals. The symposium initiated a conversation about methods of production for queer creators, the necessity for initiating a discourse on queer women’s performance, and the lexical gap in the terminology for “queer” performers. This article is a transcript of that discussion, edited and with an introduction by Laine Newman.
A Sadly Overlooked Lesbian Gem: Hope Thompson's Green
Authors: Gilbert Sky
Published: March 2013

Sky Gilbert offers a loving and impressionistic journey through Hope Thompson’s Green and explores her stylistic quirks and radical uses of camp.
On Moderation in Social Networks
Authors: Yee David
Published: March 2013

As theatre companies are taking up social networks in an effort to promote the work that they do, DAVID YEE of Toronto’s fu-GEN Theatre argues that those very networks “are rising against them.”
Igniting Imaginations with Actor-manipulated Design
Authors: Keiley Jillian
Published: March 2013

JILLIAN KEILEY of St. John’s Artistic Fraud enjoins us to harness the potential of actor-generated design that ignites the imaginations of the audience as co-creators.
Administration is Eating Away at Us
Authors: Choinière Olivier
Published: March 2013

Administration, Montreal’s OLIVIER CHOINIÈRE asserts, has prevented artists from being able to think like artists, has killed creative impulse, and has resulted in shows that are nothing more than staged grant applications.
Failure Points
Authors: Stanley Sarah Garton
Published: March 2013

Kingston-based director SARAH GARTON STANLEY outlines, in thirteen points, why we should all get better at failing miserably.
Seek Electricity: A Multiple Theatre Manifesto
Authors: McLean Alex
Published: March 2013

ALEX MCLEAN of Halifax’s Zuppa Theatre challenges us NOT TO BE AFRAID and to investigate the dangerous and productive electricity generated when people enter a space together to make theatre.
Tangible Archives of the Intangible, or Archiving the Ineluctable Modality of the Theatrical
Authors: Harvey Kathryn
Published: March 2013

Guelph-based archivist KATHRYN HARVEY conveys the challenges facing archivists in preserving and promoting Canada’s rich culture of performing arts and the importance of remembering our theatrical past even as we celebrate the theatrical present.
To Hell with Manifestos
Authors: Brooks Daniel
Published: March 2013

Toronto’s DANIEL BROOKS of Necessary Angel closes the issue with a lyrical dismissal of manifestos.
There is No Revolution, Televised or Otherwise
Authors: Nutting Kristine
Published: March 2013

“The theatre is dead,” declares Edmonton’s KRISTINE NUTTING , and in a theatrical culture that has reduced its patrons to voyeurs, the only honest way forward is in the form of a peep show.
A Manifesto of Living Self-portraiture (Identity, Transformation, and Performance)
Authors: Arsenault Nina
Published: March 2013

Through an examination of the principles and inspirations that undergird her practice, Toronto’s NINA ARSENAULT reveals how self-portraiture is “an anti-discipline of being” and a process of continuous TRANSFIGURATION.
Manifesto for Confusion, Struggle, and Conflicted Feelings
Authors: Wren Jacob
Published: March 2013

Montreal’s JACOB WREN writes a manifesto that admits to everything and, in the process, encourages us to find the beauty in feeling lost.
On the Force of Time
Authors: Rajaram Anand
Published: March 2013

Through the Hindu myth of Raktabija, Toronto’s ANAND RAJARAM imparts a story about the artist’s ability to fight “the demons of ignorance” with her tongue and, in the process, reveals why “there are no artists of colour” but “only artists.”
Manifesto in a Cup
Authors: In Suitcase
Published: March 2013

In a caffeine-fuelled burst of inspiration, St. Catharines’ SUITCASE IN POINT shares some pithy prose about what drives their community-centred work.
Theatre That is Not Just DEH-BIN-NOCK !
Authors: Fobister Waawaate
Published: March 2013

In his six-part manifesto, Toronto’s WAAWAATE FOBISTER argues that theatre is a lifeline for First Nations youth living on isolated reserves in Canada.
“A Stroll in Heavy Boots”: Studying Polish Roma Women’s Experiences of Aging
Authors: Kazubowski-Houston Magdalena
Published: March 2013

MAGDALENA KAZUBOWSKI-HOUSTON uses the subjunctive practice of developing a dramatic script as a means of extending ethnographic interviewing into topics that Roma women might otherwise be less willing to speak about with an outside researcher.
"The first time I put on a Maggie Smith ...": The Role of Costuming in the Artistic Process of Actresses at the Stratford Shakespeare Festival
Authors: Topham Sara , Schweitzer Marlis
Published: March 2013

Sara Topham and Marlis Schweitzer take the discovery of a costume from an earlier production found during rehearsal as the point of departure to engage five actresses in a discussion of how costuming has figured in their preparation of a role.
The "Stuff" That Games Are Made Of: Sharon E. Secord's Work for the Vancouver 2010 Olympic Opening and Closing Ceremonies
Authors: Kovacs Sasha , Secord Sharon E.
Published: March 2013

Sasha Kovacs in conversation with Sharon E. Secord about the distinct experience and logistics of costuming 3000 volunteers.
The Spirit of Potentials: An Interview with Bretta Gerecke
Authors: Pearce Wes D.
Published: March 2013

The opera and theatre designer in dialogue with Wes D. Pearce about her use of materials for costumes and collaborative processes of creation.
François Barbeau: An Inspiration to Costume Designers: ADC and APASQ at the 2011 Quadrennial
Authors: Lemieux Andrée
Published: March 2013

Curator Andrée Lemieux notes the preparation and installation of the exhibit at the Prague Quadrennial 2011.
For Show Only—No Performers!
Authors: Smith Jerrard , Smith Diana
Published: March 2013

Designers Jerrard and Diana Smith reflect on what it takes to wrestle the costumes designed for outdoor productions of the Patria Cycle into two gallery exhibitions.
Between Biblical Tradition and Contemporary Audiences: Jewish Theatre Practice in Toronto
Authors: Freeman Barry
Published: March 2013

Joel Benabu and Barry Freeman assemble a group of prominent playwrights and producers to discuss the shifting landscape of new Jewish theatre in Toronto.
The YICHUD Room: Performing Jewish Spaces
Authors: Schwartz Shira , Tepperman Julie , Willis Aaron
Published: March 2013

Shira Schwartz talks with site-specific artists Julie Tepperman and Aaron Willis about YICHUD (Seclusion) . They raise questions about staging Jewish ritual in theatrical space.
Jewish Theatre in Vancouver Has Chutzpah!
Authors: Lockitch Amanda
Published: March 2013

Amanda Lockitch surveys the gutsy and diverse creations of local, national, and international artists at Vancouver's Chutzpah! Festival.
Communal Sexuality: Mutual Pleasure in Sade's La Philosophie dans le boudoir
Authors: Parker Kate
Published: March 2013

Sade's La Philosophie dans le boudoir (1795) envisions mutual pleasure as the most elusive and transcendent experience available to libertines, achievable only by submitting oneself wholly to the expansive, unpredictable group dynamics of orgy. In this model of intense communal pleasure, I contend, Sade evinces a keen interest in the literature and modes of sensibility—particularly in how the orgy emulates its representations of shared and mutual communities of feeling. By further incorporating the fraught politics of looking and feeling epitomized by this literary tradition, Sade constructs through the orgy a (limited) liberatory sexual politics and a narrative of progressive sexual community, both of which are defined and shaped by the female body in particular, as it is this body that registers the group sentimental response. The male libertine's obsessive focus on the sentimental female body thus draws him into the collective pleasures of the orgy and reveals, in unexpected ways, a communal—as opposed to complementary or oppositional—politics of pleasure in Sade's work.
Fun and Games with George and Nick: Competitive Masculinity in Who’s Afraid of Virginia Woolf?
Authors: Eby Clare Virginia
Published: March 2013

This essay focuses on the relationship between George and Nick, who represent two competing but interdependent models of heterosexual masculinity. Who’s Afraid of Virginia Woolf? stages, in addition to its famous battle between the sexes, an equally urgent battle within masculinity. The verbal combat between George and Nick illustrates not only Albee’s understanding of gender as discursively constructed but also that the legendary marriage delineated in Who’s Afraid depends both structurally and psychologically on the competition between the two men. Albee presents postwar heterosexual masculinity as fundamentally competitive, a gender identity that must be proven as well as performed. The play suggests that, if competitive masculinity produces a victor, it also demands a loser. As it takes one man to prove another’s masculinity, an attentive and ultimately vanquished male audience is necessary to complete the performance. Moreover, Who’s Afraid shows heterosexual masculinity as constituted through a particular form of triangulation: George and Nick compete to see which is the better man and fitter mate for Martha.
Regenerating Drama in Stein’s Doctor Faustus Lights the Lights and Woolf’s Between the Acts
Authors: Balkin Sarah
Published: March 2013

Gertrude Stein’s play Doctor Faustus Lights the Lights and Virginia Woolf’s play-novel Between the Acts use an array of genres to connect with literary history without uncritically reproducing past forms and ideologies in the present. Writing on the brink of World War II, both authors respond to the histories and literary forms they associate with patriarchal violence, through self-renewing dramas that allow for the possibility of change. Through intertextual analysis, not moored to demonstrable mutual influence, but alert to common influences, I posit the pasts Woolf and Stein rejected and rebuilt as the strongest links between them.
Popular Bodies, Canonical Voices: Paula Vogel's Hot 'n' Throbbing as Performative Burlesque
Authors: Mansbridge Joanna
Published: March 2013

Since many of Paula Vogel's plays rewrite canonical texts, position women centre stage, and use humour to approach uncomfortable topics, her plays employ a dramaturgical strategy that might be called a "performative burlesque." As both a historical form and a dramaturgical strategy, burlesque is part of the history and theory of performance. While camp is the broader aesthetic within which Vogel works, burlesque foregrounds an eroticized female spectacle. Hot 'n' Throbbing responds to a history of discursive violence, positioning that history alongside the embodied history of the stripper. These two strands of history are enacted by the figures of "The Voice" (male) and the "Voice Over" (female). In this play, Vogel juxtaposes bodies and voices, high and low cultural forms, and sexuality and violence, highlighting the ambiguous functions of the sexualized female body in popular culture, as it both enacts and contradicts the voices of legitimate history.
Capitalism and Crime: Brechtian Economies in The Threepenny Opera and Love, Crime and Johannesburg
Authors: Becker Florian Nikolas
Published: March 2013

In 1999, nine years after Nelson Mandela's release, the Johannesburg-based, formerly Marxist Junction Avenue Theatre Company premiered its first post-apartheid play, Love, Crime and Johannesburg - a rewriting of Brecht's Threepenny Opera . This article asks to what use the South African group puts Brecht's play and theatrical method, in the postcolonial and neo-liberal moment of the 1990s and 2000s. What does the play suggest about historical and contemporary relations between crime and capitalism, crime and apartheid, and capitalism and apartheid? Does it seek to emancipate itself from the Marxian view that capitalismand crime are aspects of one and the same condition that can be overcome only as a whole? What remains of the Brechtian conviction that theatre can be realistic only to the extent that it contributes practically to solving the problems it represents? I argue that the play exposes the discourse of "lawlessness" that has replaced "reconciliation" as the near-universal currency for articulating South Africa's post-liberation predicament. The play also foregrounds the accelerating displacement of the biogeography of apartheid by the post-urban topography of spectacular capitalism. Both tendencies efface history, concealing structures of domination that continue to shape the city and the country. While the play does not "estrange" or explain these structures, it points to a global economic dispensation that prevents the twin legacies of imperialism and apartheid from being redressed. In doing so, it may also accentuate its own incapacity to envision itself as part of a solution to the problem it analyses.
How to Do Nothing with Words, or Waiting for Godot as Performativity
Authors: Begam Richard
Published: March 2013

This essay analyzes how Waiting for Godot exposes the structural logic of both rhetorical and dramatic performativity. Drawing on the language-philosophy of J.L. Austin and Ludwig Wittgenstein, Richard Begam considers what happens to "performative" locutions – statements that actually make things happen, such as "I now pronounce you man and wife" – when they are theatrically represented. Austin claims that such locutions when uttered on stage are rendered intransitive – i.e., they lose their performative force – and are therefore relegated to the Kantian realm of the purely aesthetic. Yet Beckett's play spends two acts demonstrating that the primary function of language is not "constative" – not meant to give us a picture or representation of reality. Rather, Beckett's conception of language – drawn from his reading of Mauthner – is essentially performative. But if words, phrases, and sentences all function performatively, if all descriptive uses of language are, in fact, instrumental uses, then the larger effect is to return illocutionary or transitive force to the theatre. As a result, Beckett's play breaks through the wall not only of Ibsenian realism but also of Kantian aestheticism, reclaiming for the dramatic event the kind of "there-ness" that Alain Robbe-Grillet discovered in the first performances of Godot.
Bringing the Global Home: The Commitment of Caryl Churchill's The Skriker
Authors: Amich Candice
Published: March 2013

Caryl Churchill's play The Skriker explores the ravages and intoxications of globalization. Through the shape-shifting character of the Skriker, who commands space and time in a manner that recalls the fluidity of multinational capital, Churchill examines the relationship between time–space compression and the fragmented subjectivities of two young women, Josie and Lily. In this essay, I argue that, through the play's formal exploration of the decentring forces of postmodern life, Churchill is able to demystify her subjects' relations to the flows of multinational capital and, in doing so, to recover the affect that the pressure of time–space compression threatens to exhaust.
"Drowned in Rabelaisian Laughter": Germans as Grotesque Comic Figures in the Plays of Tennessee Williams
Authors: Saddik Annette J.
Published: March 2013

By the time he wrote The Night of the Iguana , in 1961, Tennessee Williams was increasingly favouring "fantastic" modes of presenting reality, relying on the more expressionistic and "plastic" kind of theatre that he had called for, as early as 1944, in his production notes to The Glass Menagerie . Williams's interest in the fantastic modes of representation characteristic of German expressionism, in particular, along with his exaggerated, grotesque, and dream-like portrayal of Germans as symbolic characters in Iguana and several plays that would follow, shows that he was beginning to engage more fully a German sensibility that he would continue to develop in his later work. In The Gnädiges Fräulein (1966), A Lovely Sunday for Creve Coeur (1979), and Kirche, Küche, Kinder (1979), for example, Germans also function as grotesque comic figures: perverse, darkly humorous, excessive, and bawdy. The German characters in Williams's plays are inspired by an aesthetic rooted in the traditions of German expressionism and Romanticism that influenced his writing, as he fused these styles with related sensibilities - the carnivalesque, the grotesque, camp - that are associated with the resistance and rebellion typical of his late plays.
The Philadelphia Harlem Story : Langston Hughes's Screwy Play Little Ham
Authors: Emery Sharyn
Published: March 2013

Langston Hughes's 1935 play Little Ham was a genre-bending moment, influenced by screwball comedies on the 1930s movie screen and by Hughes's own love of African-American vernacular culture. By using this lens to examine the play, a rich picture of the Harlem Renaissance emerges, highlighting the difficult task of representation and engagement with cultural forms at a time when the spectre of minstrelsy still haunted the African-American stage. Hughes's project with Little Ham was, at once, ludic and critical, creating a classic comedy that deserves a closer look.
Staging a "Plurality of Vision": Diasporic Performance in Polycharacter Monodrama
Authors: Tilley Elspeth
Published: March 2013

This article explores the performance of diasporic subjectivity in relation to both the form and content of polycharacter monodrama. Using three plays (one each from New Zealand, Canada, and Australia) as exemplars, it argues that two complementary features of polycharacter monodrama (split characterization and oral storytelling) provide a contrapuntal space uniquely suited to the representation and negotiation of the defining tensions of diasporic experience.
Bernard Shaw’s Stalinist Allegory: The Simpleton of the Unexpected Isles
Authors: Yde Matthew
Published: March 2013

For over fifty years, playwright George Bernard Shaw called for the state extermination of the incorrigibly criminal or anti-social. Yet these statements have usually been dismissed as expressions of Shaw’s well-known propensity for comic exaggeration and hyperbole, his pugnacious rhetoric, his love of paradox, and especially, his addiction to antagonizing the British political establishment. Nonetheless, as this article shows, Shaw was not joking, and in fact, gave full support to the liquidation policies that arose in the totalitarian countries in the thirties, especially those in the Soviet Union. His 1934 play The Simpleton of the Unexpected Isles , although rarely recognized as such, is actually an allegory of the Soviet Union that gives especial attention to the totalitarian state’s uncompromising policy of disposing of recalcitrant citizens. The article analyses the play in light of Shaw’s 1931 visit to the Soviet Union and his vociferous support of its political agenda under Stalin.
Harold Pinter’s “More Precisely Political” Dramas, or a Post-1983 Economy of Affect
Authors: Chiasson Basil
Published: March 2013

This essay explores selections from Harold Pinter’s later, more decidedly political dramas ( Precisely [1983], One for the Road [1984], Mountain Language [1988], and The New World Order [1991]) from the point of view spectatorship and, more specifically, by means of a theoretical discourse of affect based chiefly on Deleuze. It argues that, in apprehending the affective dimension of Pinter’s political dramas from the 1980s onwards, we can better understand how their political character consists precisely in the way in which they enable spectators to undergo a transformative affective experience. Relatedly, bringing a discourse of affect to Pinter’s political dramas permits us to discern the relationship between the works’ political expression and their aesthetic composition.
Let this Hell be Our Heaven: Richard Matheson’s Spirituality and Its Hollywood Distortions
Authors: Moreman Christopher M.
Published: March 2013

Richard Matheson’s 1954 novel, I Am Legend, has inspired three official, and other unofficial, film adaptations. Hollywood has, however, consistently altered key elements, severely distorting the novel’s themes. Where I Am Legend is predictive of the anti-authoritarianism of the counterculture, Matheson’s later work aligns closely with spiritual elements of the so-called New Age. This article will show how Hollywood adaptations increasingly promote distinctly Christian symbolism in opposition to Matheson’s own spirituality, nascent in I Am Legend .
The Cultural Foundations of the Islamist Practice of Charity in Morocco
Authors: Maarouf Mohammed
Published: March 2013

It is argued in this paper that Islamism articulates through a fundamental receptive pre-existing cultural framework—always in Muslim countries implying an articulation with popular Islamic ideas and practices. Islamist groups are not alien other(s) but born in the history of the Same, and therefore amenable to be classified in types and recognized in identities. In Morocco, the cultural embedding of Islamist movements involves the still-working heritage of maraboutic institutions and beliefs and practices of popular Islam that reconstruct the Islamist lived experience. In this respect, the Islamist practice of charity is explored as an example to demonstrate how the cultural bed incorporates the Islamist rising cultural model of philanthropy. Islamist generosity is schematically fashioned upon the already existing maraboutic and monarchic cultural models as “distributing centres” of charity. It is embedded within a gift-exchange charitable model that juxtaposes alms-giving with loyalty, which may without doubt lubricate the way for attracting new recruits. It smooths power by turning the donee into a position of a willing loyal supplicant under the power of the dominant donor. The Islamists’ popular practice of charity to those in need empowers them to spread their particular version of Islam, thus displaying how their lived experience and socialization to the cultural bed where they are born further inspires them than any of their written dogmas.
Meme Splicing Genesis 6:1-4 and the Apocalypse of 2012
Authors: Thomas Paul
Published: March 2013

In the morass that has become year 2012 apocalyptic thought, there has emerged a group of authors who are linking the year 2012, Genesis 6:1-4, and cultural fears concerning genetic engineering. This article examines the manner in which various authors combine these seemingly disparate threads to argue that Genesis 6:1-4 is a record of devious ancient genetic engineering and that the Bible foretells a time when similar events will herald the coming apocalypse, thought by some to coincide with the year 2012. Looking at this literature as representative of a type of improvisational millennialism, this article examines the rhetorical devices used to make this argument.
Radical Orthodoxy and Lance Armstrong: Shedding Light on Sport as Religious Experience
Authors: Meyer Andrew
Published: March 2013

The theological framework of radical orthodoxy has yet to be realized as useful in examining the religious significance of sport and athlete hero-icons in contemporary American popular culture. This paper addresses four assumptions of radical orthodoxy scholarship to demonstrate why many claim to have religious and spiritual experiences through sport today. This paper argues the radical orthodoxy framework is useful for examining sport in popular culture as it may reflect elements of postmodern theology. Using these four assumptions this case study explores the religious and spiritual impact American cyclist Lance Armstrong's image and philanthropic activities, between 1999 and 2010, had in contemporary American popular culture.
When You Walk Through the Garden: HBO and the Cross Pressures of Post-Secular Humanism
Authors: Atkinson Andrew
Published: March 2013

Arguing that HBO has been a key player in the creation of a post-secular aesthetic, this article claims that the central figure of this aesthetic is an exaggerated human who is caught between the "cross pressures" of atheism and theism, depravity and purity, violence and transcendent peace, and homosexuality and religiosity. Through a consideration of The Sopranos, Entourage, True Blood, Rome , and Big Love , I contend that HBO has been at liberty to advance fresh representations of religion and spirituality due to its alternative economic model. Because religion is an advertising taboo, the typical figure of humanity represented on network TV is a thin veneer compared to the complex figures that HBO has mobilized.