bluuebunny/crossref_metadata_2025 huggingface dataset:
Implementasi Algoritma Klasifikasi Random Forest Untuk Penilaian Kelayakan Kredit
Authors: Pahlevi Omar - , Amrin Amrin - , Handrianto Yopi -
Published: June 2023

Kredit merupakan penyediaan uang  atau  tagihan  dengan  adanya  suatu  persetujuan  atau  kesepakatan  antara  pihak  penyedia  kredit dengan   pihak   peminjam   untuk   melunasi   utangnya   berdasarkan   jangka   waktu   tertentu   dengan pemberian  bunga. Melakukan klasifikasi kelayakan kredit sesuatu yang sangat penting agar dapat mengetahui data kredit  kendaraan bermotor  baik yang bermasalah maupun yang tidak  bermasalah. Dataset yang digunakan sebanyak 481 record data kredit  kendaraan bermotor  baik yang bermasalah maupun yang tidak  bermasalah. Variabel input pada penelitian ini terdiri dari tiga belas variabel, diantaranya status perkawinan, jumlah tanggungan, umur, status tempat tinggal, kepemilikan rumah, pekerjaan, status pekerjaan, status perusahaan, penghasilan, uang muka, pendidikan, lama tinggal, dan kondisi rumah.  Pada penelitian ini, peneliti akan mengimplementasikan metode klasifikasi data mining yaitu random forest untuk klasifikasi kelayakan kredit. Berdasarkan hasil pengukuran kinerja performa model algoritma Random Forest untuk klasifikasi kelayakan kredit memberikan tingkat akurasi kebenaran sebesar 78,60% dengan nilai Area Under the Curve (AUC) sebesar 0,907. Berdasarkan tingkat akurasi dan nilai Area Under the Curve (AUC), maka model algoritma Random Forest termasuk kategori klasifikasi sangat baik.
Konfigurasi dan Implementasi OwnCloud Sebagai Cloud Storage
Authors: Hidayat Wahyutama Fitri , Malau Yesni , Setiadi Ahmad , Julianto Muhammad Fahmi
Published: June 2023

Penelitian bertujuan mengkonfigurasi dan implementasi penyimpanan cloud sehingga dapat memberikan kemudahan dalam proses bisnis organisasi karang taruna Gemamikow. Metode penelitian yang digunakan merupakan prototype model, dimana dilakukan identifikasi kebutuhan, mendesain logika jaringan komputer, konfigurasi jaringan komputer, dan implementasi. Hasil penelitian ini berupa cloud storage yang dapat digunakan sebagai penyimpanan file dalam bentuk dokumen, gambar, maupun video. Keamanan data digunakan akses login, hal ini dilakukan sebagai upaya pencegahan terhadap pencurian informasi oleh pihak yang tidak seharusnya mengakses informasi tersebut. Hasil akhir dari pembuatan cloud storage, batas maksimal file ditentukan berdasarkan identifikasi kebutuhan masing-masing divisi, kemudian untuk penyimpanan cloud storage digunakan XAMPP yang memiliki paket Apache sebagai server lokal dan MySQL sebagai database. Konfigurasi jaringan komputer difungsikan untuk membuat akses server yang tadinya hanya dapat diakses secara lokal setelah dikonfigurasi dapat diakses menggunakan jaringan internet.
Preparation and In-Vitro Evaluation of Floating Oral In- Situ Gel of Montelukast Sodium (Conference Paper) #
Authors: Adnan Manar , RoaaA.Nief  , Shaimaa Nazar Abd-Al Hameed  , Haneen Abdulhadi Kharaba
Published: June 2023

There were several goals in this study, the most important of which was to create an oral liquid preparation (Ion sensitive floating oral in situ gel system for sustained delivery of Montelukast Sodium for pediatric patients) that would make administration easier, provide the correct therapeutic dose, and allow the drug to be released more slowly into the digestive tract (GIT) for better control.

Montelukast Sodium in situ gels at different concentration (w/v) of natural polysaccharides (Gellan gum and sodium alginate) and natural polymer (Pectin) were prepared and characterized in the terms of preparation, viscosity and In vitro release.

As the concentrations of ion-sensitive gel-forming components (Gellan gum, sodium alginate, and pectin) and gas-generating ingredients increased, the viscosity of formulations in solution (CaCO3). In vitro release study showed that the release of Montelukast Sodium from these gels was characterized by an initial phase of high release (burst effect), followed by a more gradual release in the second phase.

The oral distribution of Montelukast Sodium using the in situ gel system manufactured by Montelukast Sodium can be seen as a viable strategy for the improvement of therapeutic effects.
Autophagy or Apoptosis: Anticancer Molecular Mechanism of Epigallocatechin Gallate with Natural Polyphenol Effect on HepG2 Cells Viability
Authors: Hafidh Rand R. , Ali Zahraa Q. , Abdulamir Ahmed S.
Published: June 2023

Background: The anticancer impact of Epigallocatechin gallate (EGCG) the highly active polyphenol of green tea was abundantly studied.  Though, the exact mechanism of its cytotoxicity is still under investigation. Objectives: Hence, the current study designed to investigate the molecular target of EGCG in HepG2 cells on thirteen autophagy- and/or apoptosis- related genes. Methods: The apoptosis detection analyses such as flow cytometry and dual apoptosis assay were used. The genes expression profile was explored by the real-time quantitative-PCR. Results: EGCG increases G0/G1 cell cycle arrest and the real-time apoptosis markers proteins leading to stimulate apoptosis in 70% of the treated HepG2 cells. The up-regulation was recorded in two of autophagy inhibitory genes (FOS-1, FOS-2) and apoptosis inducer gene (DDIT3). While the other ten genes expressed down-regulation after treatment. The down regulation was manifested in the genes of mitochondrial autophagy marker proteins (BNIP3, BNIP3L, and NBR1), the autophagy regulator genes (BIRC5, MAPK9), and the gene that implicated in protein biosynthesis and protein modification (ITGB1). The genes that have pro-apoptotic function in cells (CAPNS1, CFLAR, EIF4G, and RB1) were also showed down-regulation after treatment. Conclusion: Thus, the results demonstrated a potential effect of EGCG to induce apoptosis rather than autophagy in the treated HepG2 cells that could play a good target for therapy.
The Fasting Girl
Authors: Genest Michele
Published: June 2023

Caution: Copyright Michele Genest. This script is protected under the copyright laws of Canada and all other countries of the Copyright Union. Changes to the script are forbidden without the written consent of the author. Rights to produce, film or record in any medium, in any language, by any group, are retained by the author. The moral right of the author has been asserted. For copyright information contact Playwrights Union of Canada, 54 Wolsely Street, 2nd Floor, Toronto, ON M5T 1A5; Tel.: (416) 703-0201/ Fax: (416) 703-0059; E-mail: cdplays@interlog.com
Over The Moon
Authors: Martin Meah
Published: June 2023

Caution: Copyright Meah Martin 1999. This script is protected under the copyright laws of Canada and all other countries of the Copyright Union. Changes to the script are forbidden without the written consent of the author. Rights to produce, film or record in any medium, in any language, by any group, are retained by the author. The moral right of the author has been asserted. For copyright information contact: Meah Martin, #25, 1101 Nicola Street, Vancouver, BC V6G 2E3. E-mail: meah_martin@sunshine.net
Dramatic Discourse at Talonbooks: Narratives on the Publisher-Author Relationship
Authors: Ratsoy Ginny
Published: June 2023

The emergent interest in Canadian literary studies in the role of publishing can be seen as a reflection of confidence in the value of Canadian literature. It can also be seen as a continuation of an ongoing attention to the complex dynamics involved in creation, production and readership of text. Both the Spring 1997 issue of Open Letter, devoted to an examination of Coach House Press, and Sam Solecki’s 1998 Imagining Canadian Literature: The Selected Letters of Jack McClelland, for example, by the very act of chronicling the histories of their respective presses, assume the validity of the fiction, non-fiction and poetry whose publication they record, pay tribute to those responsible for making that work public and provide insight into publishing processes. A more recent study, the Spring 1999 issue of Canadian Theatre Review, themed “Publishing Canadian Theatre,” acknowledges and examines the contributions of such drama publishers as Playwrights Canada Press and Talonbooks, but functions primarily – and significantly – to generate interrogation into the distinct nature of drama publication. As editor Ann Wilson writes, “this issue is only the beginning – raising questions and offering insights with no definitive analyses” (3).
Theatre for Life: Public Ritual and Public Dreams in Vancouver
Authors: Preston Nicole
Published: June 2023

For some time I have had the feeling that our culture, while becoming more and more crowded, is somehow dispersing, that even while people are living in closer and closer physical proximity, spiritually and emotionally, we have become distanced from each other and the life of the community. Modern life has drained the magic and simplicity from traditional celebrations; science has exploded mythology; materialism has pre-empted ritual; and declining faith and diverse religious beliefs have diluted the common ground that culminates in public expression. People need celebration and ritual. Publicly and privately, it is how we mark major milestones, and it is also an indicator of how we define ourselves. In neighbourhoods where everybody has their own religion, beliefs, and cultural history, creating an artistic event is a shared ritual that helps bond the community. The time taken to plan the event, to discuss what is important, to create art and images and, especially, to really listen to each other, strengthens the threads of communication between friends and neighbours. Popular theatre, such as carnival, the processional or the community play, provides a forum where this can take place.
Caravan Farm Theatre: Orchestrated Anarchy and the Creative Process
Authors: Kirkley Richard Bruce
Published: June 2023

Caravan Farm Theatre, located in the Salmon River Valley north-west of Armstrong, BC, has been delighting audiences with original and unconventional outdoor theatre for thirty years. Since its beginnings in the late sixties as a horse-drawn caravan, the company has long been dedicated to the development of a counter-cultural theatre and lifestyle in opposition to the technological and consumerist preoccupations of the North American mainstream. With its roots in sixties radicalism, in street theatre and guerrilla theatre and in experiments with collective creation and communal living, Caravan’s approach to theatre is fundamentally informed by an ideology of anarchism. Through recent interviews with theatre artists closely associated with Caravan, including actor/play-wright Peter Anderson, former artistic director Nick Hutchinson, current co-artistic director Estelle Shook and former publicist Ken Smedley, I inquired into the nature of a creative process underscored by the need to reconcile the tension between individuality and collectivity – a tension central to the practical pursuit of anarchism. The interviews reveal how the anarchistic ideals deeply embedded in Caravan’s way of working give rise to an unorthodox, yet effective, creative process that generates performances of great spontaneity and immediacy.
Redrawing the Boundaries of Poetic Realism in Margaret Hollingsworth’s Drama
Authors: Maufort Marc
Published: June 2023

Among the many important women playwrights to have emerged in Canada in the past two decades, Margaret Hollingsworth has repeatedly been associated with theatrical life in British Columbia. Although she was born in England and came to settle in Canada relatively late in life, Hollingsworth found a congenial place to develop her dramatic experiments in British Columbia, particularly in her association with the New Play Centre in the 1970s. Many of her plays were premiered in British Columbia, and some of them (such as Islands), though not the majority, take place in the Pacific province.
Taking a Walker on the French Side
Authors: Parisien AurèLe
Published: June 2023

In the fall of 1998 we seem to have had a first in Canadian theatre history. The same Canadian play was a runaway hit at both Toronto’s Factory Theatre, in English, and Montreal’s Théâtre de Quat’Sous, in French – with productions also running in Halifax and Vancouver.
A Servant of Two Masters: An Interview with Linda Gaboriau
Authors: Beauchamp Hélène , Knowles Ric
Published: June 2023

Hélène Beauchamp and Ric Knowles interviewed Linda Gaboriau about the art of translation at her home in Montreal on 15 October 1999. The interview was transcribed by Julie Byczinski and edited by Ric Knowles and Hélène Beauchamp.
Wonderbolt!
Authors: Lynde Denyse
Published: June 2023

A circus in Newfoundland and Labrador? Yes, and what a circus! Like all things that emerge from Canada’s easternmost province, however, Wonderbolt Circus Show is like no other. Combining theatre, music and circus skills, the six-member cast delights audiences young and old with their sixty-minute, fast-paced, hilarious extravaganza. The plot is simple but weirdly familiar. We have the Zuma family, who, because of the economic conditions still prevailing in this province, must retrain. There have been many and varied dramatic approaches to the issue of retraining in Newfoundland, from a small community that all retrained as hairdressers to real-life major success stories. But this “retrained” family are restarting life as circus performers. The family – father, mother, children and uncles, with their van of recycled material – are determined to tour their new skills and share a new form of theatre with their province.
Les 15 jours de la dramaturgie des régions
Authors: Beauchamp Hélène
Published: June 2023

Jean-Claude Marcus, artistic advisor for the National Arts Centre’s Théâtre français, acted as artistic director for this fifteen-day event focused on the dramaturgy of the francophone regions of Canada, organized in Ottawa, “the geo-theatrical centre par excellence,” according to press releases. It was not a festival as such, argued Marcus, but an “instantaneous shot” of the state of artistic creation – musical, poetical, dramaturgical and theatrical – in francophone Canada. And it was a beautiful celebration, with artists of the Franco-Canadian parole – authors, musicians, poets, storytellers – presenting fourteen shows, ten readings of new scripts, one evening of “Poèmes aux quatre vents” and as much music and song as the evenings could afford. For its part, the Association des théâtres francophones du Canada (ATFC)1 organized talks on the performances themselves and workshops on themes like writing, directing, owning one’s theatre space, creating theatre in a region, co-producing, touring and so on.
Cultural Tourism at Shaw and Stratford: The Shaw Festival and the Stratford Festival 1999
Authors: Dicenzo Maria , Filewod Alan , Knowles Ric , Lane Harry , Wilson Ann
Published: June 2023

Easily the most interesting, inventive and challenging production at the Stratford Festival in 1999 was Richard Rose’s revival of David Young’s Glenn. Rose’s carefully orchestrated and choreographed staging of Young’s sophisticated script about the modernist wish to do away with, transcend or control material mediations between conception and expression might have served as a commentary on the gap between the Festival’s professed and publicized ideals and their playing out on the Festival’s three stages. Certainly no other production in 1999 at Stratford could match this one’s power, impact or intelligence, or indeed could claim much representational or thematic connection to any kind of real world.
The Edinburgh Festival and Fringe: Lessons for Canada?
Authors: Knowles Ric
Published: June 2023

A visit to the last ten days of the formidable Edinburgh International Festival and its famous Fringe – the ur-festivals for English language international festivals and fringes in Canada as elsewhere – provides the opportunity for some comparative musings on the cultural role played by such events in both Scotland and Canada. In a consciously provocative opinion piece in the Spring 1992 issue of Theatre Forum, Ritsaert ten Cate asked, “Festivals: Who Needs ‘Em?” In attempting to answer the question – “travel agents, who can offer package deals” is the closest he seems to get, quoting a “deadly serious” American student (87) – ten Cate raises some issues that remain crucial to any discussion of the cultural work performed by international festivals at the turn of the millennium. He focuses on a familiar, mutually reinforcing binary that seems to set artists/producers against the economic and other interests of governments, funders and “the part of society that provides cash backing for a festival (an overlapping, but essentially different part of society from that which makes up our audiences)” (87). It’s “‘us’ against ‘them,” he says (86). But his essay also touches on less familiar, more useful territory, including “the presentation of our registered cultural trademarks” (87) and “a move toward multiculturalism which seems inspired more by pragmatic reasoning, political opportunism, and the availability of funding than … by any involvement of the heart” (87). Noting ruefully that “we have witnessed just how successfully the arts can be incorporated as a useful aspect of consumer society,” he argues, against his own “better” instincts, that festival organizers “must consider what their own function is within the larger context of a melange of art and society and the world …” (86, emphasis in original).
Participatory Theatre: The Experiential Construct of House and Techno Music Events
Authors: May Beverly
Published: June 2023

Theatre lies at the essence of what house and techno music events offer to participants. The purpose of the event is ultimately to create a concentrated, intense experience. Dance music and specialized settings are the props that set the stage for this collective transformation to occur. “Theatre” in this sense refers to a cathartic or strongly emotive collective experience through an artistic medium: a search for heightened reality through fantasy. It means an exploration of lived or ideal experience rather than artifice. It does not represent a sense of falseness or escapism through entertainment.
The Worlds Within Worlds of Vittorio Rossi
Authors: Reid Gregory J.
Published: June 2023

In Irony’s Edge, Linda (Bortolotti) Hutcheon observes that irony is made possible and “happens” when “discursive communities” (groups which might share, for example, a gender or ethnicity or profession or interests or a particular awareness) overlap within the lives and experiences of particular individuals making simultaneous, multiple and often contradictory interpretations of texts and events possible (89). Hutcheon offers her own gender, class, profession, colour and Italian Canadian “crypto-ethnicity” as potential sources of irony. The career and imbricated worlds of first-generation Italian-Anglo-Québécois-Canadian actor/playwright Vittorio Rossi1 and the contradictory reception of his work by audiences and the press display some particularly sharp-edged ironies. Three critics—Ray Conlogue, Pat Donnelly and Kate Taylor —stand out as speaking with the voice of authority from their positions in the mainstream press, while they, in fact, based on the available evidence, present minority, dissenting opinions on the plays of Vittorio Rossi.
La Storia Recondita
Authors: Stockwell Alec
Published: June 2023

When one is faced with the challenge of creating a new work, one is immediately presented with the question “Why?” Once this deceptively simple question is answered one is presented with another question, “How?” But before the “how,” the first question must be answered. One answer may be “The material speaks to me.” But what is it that it speaks to? Is it one’s political beliefs, one’s sense of theatricality, one’s need to place one’s dreams on stage or perhaps the urge to create a piece of art? These answers are natural but only touch the surface. They are the answers of the ego. To really answer our “why” question, we must go deeper than ourselves. We must go beyond ourselves to include not only our actors and technicians but our audience too. Theatre, after all, is the communication of actor to audience—story, storyteller, hearer. So, as we go deeper in our questioning, we might then ask ourselves not “What must I show to the audience?” but “What is it in this story, play or creation that will touch a deep-seated need in the hearers?” For the actor/storyteller, his/her question is: “How can I give of this story and of myself?” If the teller does not give freely of him/herself, then there is only an empty shell. And if we take only the first or egotistical level of questioning we end up looking for security and no creation will take place. There must be an element of risk. This is true for directors as well as actors, any artist for that matter. These were some of the questions I had when we began work on La Storia.
A Selected Chronology of Italian Canadian Theatre in Toronto from 1950 to the Present
Authors: Fracassa Rosa
Published: June 2023

Studies of immigrant theatre are lacking, despite Toronto’s multi-ethnic make-up and numerous multicultural and ethnic theatre groups, both amateur and professional. Immigrant-ethnic theatre is a discourse that both reflects and responds to the immediate and larger community. Italian theatre in Toronto is no different. The following is a summary of the main Italian Canadian theatre groups in Toronto after World War II. The chronology does not include the production of Italian plays in general, productions by visiting Italian companies or forms of theatre organized on an occasional basis by Italian Canadian social and cultural clubs of various villages and regions. The main sources for the chronology are newspapers such as The Toronto Star, The Globe and Mail and Corriere Canadese, as well as smaller Italian newspapers, many of which were started in Toronto after the war and are no longer in existence, available in private collections.
C’era una volta in montagna … Once Upon a Time in the Mountains …
Authors: Walling Savannah
Published: June 2023

Halfway between sea and sky, perched high on a mountain face, lies the old and tiny town of Nocelle. Carved out of a vertical mountain on southern Italy’s Amalfi coast, Nocelle is the size of two city blocks; it has no roads and many stairs.
Canadian Theatre in New York City: Two Case Studies
Authors: Hurley Erin
Published: June 2023

New York is awash in Canadian citizens, cultural events and consulates. Two consular bodies and five Canadian organizations serve the upwards of 100,000 Canadians living in the Tri-State area (New York, New Jersey and Connecticut). Each consulate has a cultural development program and boasts a publication announcing upcoming Canadian cultural events in New York.2 Moreover, mediatized images of Canada have successfully permeated New York’s popular consciousness. In fashion, American designer Isaac Mizrahi documented his 1994 fall fashion-homage to Nanook of the North in the film Unzipped. In music, two of America’s favourite “divas” are Canadian Céline Dion and Shania Twain formed the core of VH-1’s runaway success, Divas Live. In film, Mike Myers’s enormous popularity rests in part on Saturday Night Live’s “Wayne” and “Garth,” two heavy-metal fans from Scarborough. Atom Egoyan’s The Sweet Hereafter (1998) garnered an Academy Award nomination. Female lead Sarah Polley was one of Vanity Fair’s up-and-coming actors in April 1999. The most visible media images of Canada are Molson’s “Joe Canadian” series of television advertisements (premiered in March 2000) and Matt Stone and Trey Parker’s movie musical satire, South Park: Bigger, Longer and Uncut (released in June 1999). Pop culture iterations of Canada seem to be everywhere.
Homage to a Master
Authors: Cottreau Deborah
Published: June 2023

On 19 January 1999, Jacques Lecoq, the man who inspired two generations of students from around the world, died of a cerebral hemorrhage in a Paris hospital (Dunning C22).1 Like many of his former students, his passing leaves me with a sense of debt and gratitude: debt, because Lecoq made me look at theatrical expression in a way that no other person has; gratitude, because, unlike so many other theatre pedagogues, his personal approach was not a prescriptive one but one of continual discovery. Twenty years after my days at école Jacques Lecoq, I realize that the voyage I had undertaken with Lecoq was lifelong, a study of corporeal expressiveness and an ever-deepening awareness of how it can manifest itself on a stage. Unlike others I have studied, the Lecoq approach is one that I am unable to shake off. In his tribute, Perrier uses the master’s own words to outline one of his fundamental principals, one which has marked my work as a teacher and as a practitioner:
Five Episodes from The Dead Dog Café Comedy Hour
Authors: King Thomas
Published: June 2023

Production History Thomas King’s The Dead Dog Café Comedy Hour is an enormously popular feature on CBC Radio One that has brought, with satiric wit, the concerns of Indians to a broad-based audience across Canada. The series is part of a long-standing Canadian tradition in Canada of CBC-produced radio drama which has provided playwrights with larger audiences for their work than if it were staged in the theatre. As satire, the series has a playful irreverence that has come to be the hallmark of much Canadian humour. Satire, however playful, has a serious side, drawing the audiences to social issues. In The Dead Dog Café Comedy Hour, the recurring readings from The Royal Commission Report on Aboriginal Peoples, a massive document detailing the conditions under which Aaboriginal peoples live, is a reminder that the concerns raised in The Report seem to have fallen from public consciousness and from the political agenda, save for this series. In the context of the series, which presents “Conversational Cree” and “Tom King’s Aboriginal Decorating Tips,” the incongruity of reading the dry prose of the Commission’s Report is funny; however, the laughter it generates has a serious bite.
Festival Vancouver: An Ambitious New Summer Series Debuts in Vancouver
Authors: Gilbert Reid
Published: June 2023

August 2000 saw the debut of the ambitious new Festival Vancouver. Ninety concerts and three operas (five of these world premieres) filled seventeen days, each day packed with a weekday noon-hour concert in the Alcon Beethoven Plus Series, a 5:00 p.m. choral series called Choral Connections, a major evening performance in the F.R. Graham Main Stage Series or an opera and a more intimate show in the 11:00 p.m. Late-Night Series. Weekends added a group of concerts at UBC’s First Nations Longhouse; Hallelujah Handel!, a musical theatre production for children; and a four-concert collection at the Dr. Sun Yat-Sen Classical Chinese Garden. As well, in a special day-long project, the Complete Cycle of String Quartets by R. Murray Schafer were performed by the Molinari, the Penderecki and the St. Lawrence quartets at the Chan Centre.
Youth Arts Festivals and the Politics of Participation
Authors: Hunter Mary Ann
Published: June 2023

Artrage, Next Wave, Take Over, Come Out, Loud and Fried are just some of the myriad youth arts festivals held in Australia in recent years. Usually supported by government arts funding and curated by professional producers, these festivals attract young artists, young audiences and lots of attention from those interested in new or emerging performance practices. Festival participation is increasingly popular among Australians, with over 30 per cent of eighteen-to-twenty-four-year-olds having attended a festival in the year prior to the last population census (Bureau of Statistics). Each state hosts at least one major recurrent youth arts festival, and many are vehicles for the development and presentation of new Australian theatre. Multimedia, interactive art and cross-art form performance often gain top billing in programming that privileges the innovative, highlights the social and sometimes inadvertently prescribes “the young.”
ICE: beyond belief
Authors: Lazarus John
Published: June 2023

My friends and I recently finished a tour of a show I wrote about and for teenagers called ICE: beyond cool. In its two incarnations – a 1997 Vancouver stage production and a 2000 tour – this piece formed both a high and a low point in my career. It brought me to heights of ecstasy, and it broke my heart. It saved the lives of some audience members and threatened the health and sanity of its creators. The young people were terrific; some older people damn near destroyed the project. One of the play’s themes was that society doesn’t want to hear from its adolescent members. Our experience of trying to get this show to its audience tended to prove that theme true.
First Tellers of Tales
Authors: Hengen Shannon
Published: June 2023

Why the mysterious title for this essay? “Tellers of tales” is an alliterative translation of the name of the theatre that is my topic, the Debajehmujig Theatre of Wikwemikong Unceded Reserve on Manitoulin Island.1 In the Cree/Ojibway mix that founder Shirley Cheechoo devised, Debajehmujig as a name emphasizes that storytelling, or the telling of tales, is central to this theatre and that the first storytellers in this part of the world spoke in those languages (Rhodes) – thus “first tellers of tales.” My focus is on the place of storytelling in the early and current days of Debajehmujig Theatre, founded in 1984 as a youth theatre.
Chasing the Money
Authors: Rivers Paul
Published: June 2023

This sampling of some recently published Canadian plays on the subject of delinquent youth deals with issues ranging from gambling addiction to gay-bashing. While they vary in terms of how these issues are addressed in content and structure, each play makes a contribution to the discussion of troubled youth in our society. Indeed, these works demonstrate how the theatre can be a useful tool in trying to grapple with these sorts of social problems.
Adventures in the London (Ontario) Underground: A Review of The Adventures of the Boneyard Man
Authors: McDonald Jayson , Snyder Liz
Published: June 2023

A sparse stage. An announcer steps up to the microphone holding a headphone to one ear. He tells the audience that the show is on the air in “five, four” and then gestures three, two, one. The “Natural Broadcasting Company On Air” sign lights up and a guy in a hat plunks out a sinister sounding tune on the organ. Another announcer, this one wearing a black suit and holding an orange and yellow plastic reverberating child’s microphone, moves front and centre. He alludes to the evening’s plot in a sinister, dramatic tone and ends his spiel with an evil-sounding, drawn-out “mwahahahahaha.” The organ peals again, and the actors step up to the microphone with scripts in hand. The first scene begins.
Co-production and the NAC
Authors: Ruprecht Alvina
Published: June 2023

The following is the edited text of an interview with Marti Maraden, director of English-language theatre at the National Arts Centre (NAC), conducted by Alvina Ruprecht at the NAC on Friday 25 May 2001. The taped interview was transcribed by Claire Tansey and edited by Ric Knowles, Marti Maraden, Alvina Ruprecht and Diana Tyndale.
Carbone 14’s Intelligent and Responsive Body
Authors: Hurley Erin
Published: June 2023

Available definitions of le théâtre d’images, or “image theatre” (also called “dance-theatre”), often contradict each other. For some, le théâtre d’images is a distinctive theatrical aesthetic emphasizing visual spectacle and minimizing spoken language (Lévesque “Carbone”). For others, it is a technique akin to sculpture (Pavlovic 22-29; Hood 50-67). Still others emphasize its desired effects (Vigeant 7-16). Despite the differences in emphasis, most of the criticism privileges the role of the body in the technique and production of images. The body is understood as the primary sign among stage-signs whose goal is to create a strong sensory impression. For example, Bonnie Marranca describes the actor’s function in the US-based “theatre of images” as “media through which the playwright expresses his [sic] ideas; they serve as icons and images” (xi).
Re-Surfacing the Chinese-Canadian Body in Performance: Elyne Quan’s “Surface Tension” and “What?”
Authors: Kerr Rosalind
Published: June 2023

These humorous reductive warnings issued by her mother Rosa were intended to make Elyne Quan think twice before she embarked on a theatre career. Both were apt in terms of the race, gender, and body issues that Quan has found herself negotiating in Edmonton, Alberta, where she has established herself professionally over the past five years. As non-white bodies are gradually becoming visible in cultural representations, Quan has set out to examine the ways in which Chinese-Canadians are not only “surfacing” for the first time as they make their presence an indisputable fact of life, but “re-surfacing” as they remember and remind others about all those parts of themselves they lost over generations as immigrants. A second-generation Chinese-Canadian, Quan’s experiences of discrimination and hardship have been more oblique than those of her father, who came from Kaiping as a young boy with his family in the 1950s to open a café in rural Saskatchewan. By the time she was born in 1973, the year they came to Edmonton, her family had a relatively secure middle-class lifestyle. Becoming a theatre practitioner in a predominantly white culture has been Quan’s way of breaking new ground, as we see in the two performance pieces – “Surface Tension” and “What?” – which are the main focus of this article.
I as Collage: Playwright John Ng on the Modern Immigrant Experience
Authors: Yap Jennifer
Published: June 2023

“Asian American experience is a relatively new concept if you think about it. We only go back 20-30 years, so we have all of those issues to work through – chief of which is the immigrant experience. Writers need to get this out of their system. It’s their most immediate experience of all; growing up, family, generations, racism, gender. We have to get through that before we start getting into all the other iterations of American life. It takes a certain amount of maturity as a writer to hone in on the nitty gritty of relationships and look at other situations, and as we develop Asian American theatre that’ll happen.”

-Ralph B. Peña (Eng 4l6)
Familiar Geography: Looking for Home Down Dangerous Passes Road, Marion Bridge, A Guide To Mourning
Authors: Bouchard Michel Marc , Gaboriau Linda , Maclvor Daniel , Stickland Eugene , Rivers Paul
Published: June 2023

An interesting trend has emerged in Canadian plays lately. Over the past few years quite a number of thirty- and forty-something playwrights have written plays in which estranged siblings reunite to address the death (or impending death) of one of their parents. These three plays are examples of this trend from three different parts of Canada.
Two-Tier Theatre? What does the Mirvishes’ success mean for Canadian theatre?
Authors: Hays Matthew , Graham Catherine
Published: June 2023

Some two years into its run, the Abba-inspired musical Mamma Mia! continues to pack the house; no small feat, as it’s playing at the Royal Alexandra Theatre. What does the Mirvishes’ success mean for Canadian theatre?
Where Were You in ’52?
Authors: Wasserman Jerry
Published: June 2023

Released on the appropriately named Modern label, John Lee Hooker’s upbeat blues reflects the mixture of anxiety and optimism that reigned during the fall of 1952 in both the United States and Canada, as plans for the new Stratford Shakespearean Festival proceeded apace. Of troubles there were plenty. The Korean War raged on even as the Americans elected a new President, Dwight D. Eisenhower, who promised to end it. The Cold War heated up under the mushroom clouds of A-bomb tests and the imminent hydrogen bomb. The Red scare was at its height, embodied in the frightening power of Senator Joe McCarthy and marked, that October, by the US Supreme Court’s rejection of Julius and Ethel Rosenberg’s appeal of their conviction for passing atomic secrets to the Russians, for which they would be executed a few months later.
Fantasies of Origin: Staging the Birth of the Canadian Stage
Authors: Mackay Ellen
Published: June 2023

In the period that Don Rubin characterizes by the eventual necessity of “Government Interventions” – that is, 1945 to 1967 – the Anglo-Canadian stage is repeatedly defined as something unformed, primitive and justifiably neglected (131). George Broderson, in a fevered succession of metaphors, calls it a “national impotence,” the “Cinderella of the arts,” and an “undernourished, puling infant” (147); to Nathan Cohen, it is a thing that has “never counted in the life of English-language Canada, [n]or is it likely to in the reasonably foreseeable future” (228). Even to those more inclined to see the glass as half-full, there is no denying the apparent barrenness of Anglo-Canada’s theatre culture; Mavor Moore, for instance, describes it in the mid-fifties as a “tabula rasa,” “propitious[ly]” awaiting inscriptions of “considerable consequence,” but currently blank nonetheless (238). It is thus the paradox of Rubin’s post-war readings in Canadian Theatre History (of which the foregoing are all examples), that they are largely dedicated to bemoaning the lack of a Canadian theatre to historicize. Reading these selections, one gets the impression of a posse of academics impatient for a discipline in which to profess expertise. Conventional wisdom would call this placing the cart before the horse.
SHADOWS A ONE-ACT PLAY
Authors: Findley Timothy
Published: June 2023

Caution: Copyright © 2001 by Pebble Productions Inc. This work is fully protected under the copyright laws of Canada and all other countries of the Copyright Union and all performances are subject to royalty. Changes to the script are expressly forbidden without the express permission of Pebble Productions, Inc. Rights to produce, film, or record, in whole or in any part, in any medium or any language, by any group, amateur or professional, are retained by Pebble Productions, Inc. Interested persons are requested to apply for permission and terms to Deborah Wood, WCA Film & Television Ltd., 138 Sussex Mews, Toronto, Ontario M5S 2K1. Ph: (416) 944-0475; FAX (416) 944-0136.
Adapting Fiction for the Stage: Necessary Angel’s Coming Through Slaughter
Authors: Porter Deborah
Published: June 2023

Michael Ondaatje has been directly involved in three attempts to bring his novel Coming Through Slaughter, first published in 1976, to theatrical life. Theatre Passe Muraille produced his first version on its main stage in 1980. Three years later, Ondaatje began work on a second adaptation, this time for a film production company. In 1987 director Richard Rose and dramaturge DD Kugler approached him with the idea of working collaboratively on a new stage version. This collaboration resulted in a third adaptation titled Coming Through Slaughter by Michael Ondaatje,1 produced in 1989 by the Necessary Angel Theatre Company at the Silver Dollar Tavern in Toronto.
Roses on the Rez: Chronicle of a Failure?
Authors: Hauck Gerhard
Published: June 2023

The proverbial assertion that all good things come in threes apparently does not apply to Tomson Highway’s dramatic output. Following the startling success of The Rez Sisters and Dry Lips Oughta Move to Kapuskasing, Highway had every reason to believe that the third instalment of his projected seven-play Rez cycle, the musical Rose, would have theatre producers scrambling to get it staged. After all, it had most of the ingredients of Highway’s earlier plays – the salty Rez characters, the poignant mixture of gritty humour and cutting despair, the colourful language, the treatment of relevant social issues, an intriguing, multi-layered story – and so much more: music, dance, magical transformations, elaborate spectacle. But thirteen years after it was first conceived, Rose has yet to receive a professional production.
Editorial
Authors: Knowles Ric
Published: June 2023

This is the second of two special issues of CTR dedicated to the Celebrating Canadian Plays and Playwrights Conference and Festival held in the Studio Theatre complex at the Stratford Festival, Ontario, in October 2002. The event brought together artists and academics from across Canada and beyond to discuss and celebrate the work of Canadian playwrights.
Cross-cultural Experiences in Activist Theatre
Authors: Grant Cynthia
Published: June 2023

This summer, Lindi Papoff returned to Canada after living for many years in Israel, working in theatre and opera, as well as working as a community educator who utilizes popular theatre and education techniques. Most notably, Lindi formed a theatre company that involved both Arab and Jewish women in the creation and presentation of original plays. A Different Night Feminist Arab Jewish Theatre Company – Laila Archer – produced several plays and was a unique cross-cultural collaboration in a period of great tension between two communities. Lindi and I have reconnected in Toronto and here are excerpts from some of our conversations.
Confessional Drama and Autofiction in Montreal
Authors: Leroux Louis Patrick
Published: June 2023

There are very few actual experimental theatres left in Montreal. By that I mean companies devoted to works seeking to challenge and surprise the audience constantly, as well as the artists themselves. Resisting the impeding institutionalization of Quebec theatre are the aptly named Nouveau Théâtre Experimental (ΝΤΕ) and Momentum. Interestingly, they both ventured into autobiographical drama last year, with unexpected critical and public hits, which they have fortunately revived this season. Neither of the companies’ front men, Jean-Pierre Ronfard, in the case of the ΝΤΕ, or Jean-Frederic Messier of Momemtum, was involved in these autobiographical ventures.
Re-baptizing the World in Our Own Terms: Black Theatre and Live Arts in Britain
Authors: Mcmillan Michael
Published: June 2023

It wasn’t until the mid-1970s that the BBC, bastion of “balanced” broadcasting, decided it was time to take The Black and White Minstrel Show off the air. This program, based on the first American theatre tradition, says more about the hegemony of a colonial fantasy constructed in the nineteenth century as part of a racist ideology than about the Black subject. In this Eurocentric discourse, we were always more body than mind, and Black cultural traditions were represented as homogeneous, marginal to the European canon, unsophisticated derivatives of Western forms and traditions. This historical, cultural and political background provides a critical framework for discussing Black theatre as developed and practised in a British context. This framework facilitates a critique of Black theatre, live art (that is, performance art) and related practices, in the context of a postcolonial discourse. While the term “Black” has been defined politically, in other studies, to include the African Caribbean, Southeast Asian, Chinese and other communities of colour, signifying the shared experiences of colonialism and political resistance to it; in the present context, “Black theatre” refers to theatre of African Caribbean origin.
2. from Bone Bred; An Adaptation of Euripides’ Medea
Authors: Roberts Diane
Published: June 2023

Caution: Copyright Diane Roberts (c) 2003. This play is fully protected under the copyright laws of Canada and all other countries of the Copyright Union. Changes to the script are expressly forbidden without written consent of the author. Rights to produce, film or record in any medium, in any language, are retained by the author. The moral right of the author has been asserted. For permissions, copyright, and performance rights, contact the author at dirobe@sympatico.ca
1: from The Guide to Being Fabulous after You’ve Skinned Your Knees!
Authors: Caldwell Sandra
Published: June 2023

Caution: Copyright Sandra Caldwell © 2003. This play is fully protected under the copyright laws of Canada and all other countries of the Copyright Union. Changes to the script are expressly forbidden without written consent of the author. Rights to produce, film or record in any medium, in any language, are retained by the author. The moral right of the author has been asserted. For permissions, copyright and performance rights, contact the author through Core Group, Attention Carol Amirault, (416) 955-0819.
2: from Heaven
Authors: Foggo Cheryl
Published: June 2023

Caution: Copyright Cheryl Foggo © 2003. This play is fully protected under the copyright laws of Canada and all other countries of the Copyright Union. Changes to the script are expressly forbidden without written consent of the author. Rights to produce, film or record in any medium, in any language, are retained by the author. The moral right of the author has been asserted. For permissions, copyright and performance rights, contact the author at (403) 288-1138 or cfoggo@shaw.ca
After All: A Play in One Act
Authors: Anderson Carol
Published: June 2023

Caution: Copyright Carol Anderson © 2003. This play is fully protected under the copyright laws of Canada and all other countries of the Copyright Union. Changes to the script are expressly forbidden without written consent of the author. Rights to produce, film or record in any medium, in any language, are retained by the author. The moral right of the author has been asserted. For permissions, copyright and performance rights, contact the author at sageproductions@hotmail.com .
Dramaturgy: Forging Definition
Authors: Hinton Peter
Published: June 2023

As artists, we come to the theatre by accident or trauma. Weremain out of fortitude and stubbornness. Wereturn to each project with the knowledge that true discomfort is humanizing and that it is never too late for hope to stimulate change. Popular skepticism and a lot of contemporary theatre talk tell us that art has never changed anyone. We have seen the failure of a political attachment to culture and social change and prefer to abandon the idealism of the theatre we desire for the more practical concerns of the theatre we have. I have always believed in the innate power of the theatre to change people’s lives because it changed my own. While the Canadian regional theatre embraces dramaturgy in terms of “audience,” people seeing “their own stories,” and writers writing about “what they know” and creating works “for the large stage,” they fail to grasp the relevance of the independent dramaturges, who encourage writers to think unashamedly for themselves, pursue stories that have yet to be claimed and nurture the courage in playwrights to write about what they do not already understand.
All Statements Are Insecure Questions: Eight Words toward a Theatre
Authors: Zimmer Jacob
Published: June 2023

There are eight words I return to. They are words I heard and haven’t been able to stop hearing. For the past three years, while I have been director of Small Wooden Shoe Theatre Co. in Halifax, they have been touchstones. I see them in the work I did with sabotage group before I heard them; I see them in all my plans and hopes for the future. So, eight words toward a theatre . . .1
New-Play Development
Authors: Baal Augusto , Theatre Legislative
Published: June 2023

I begin with these words from Augusto Boal because, in his remarkable career as a creator and facilitator of internationally renowned theatre systems (the Theatre of the Oppressed and Legislative Theatre) and in his profound work as a mentor and motivator of teachers, actors, social workers and workers in numerous fields and countries, he has, above all, taught us the value of happiness in troubled times. Boal’s vision and practices have emerged out of the most difficult possible political circumstances. He was tortured under the military dictatorship in his native Brazil, and as an exile, despite the struggles of language barriers, he managed to create revolutionary and subversive ways of using theatre to animate issues and individual lives, before returning to Brazil to become, of all things, a Vereador, a member of Parliament. And, amazingly, he continued to use theatre to animate the political and cultural concerns of his constituents. At the core of Boal’s dramaturgy is the dual meaning of the verb “to act”: to perform and to take action (Boal 20).AIongside this, Boal’s work teaches us the dual meaning of the word “play”: the written creation, often at the origin of a performance, and the transformative act of creation that animates this written work.