bluuebunny/crossref_metadata_2025 huggingface dataset:
Towards an Australian Housing and Homelessness Strategy: understanding national approaches in contemporary policy
Authors: Martin Chris , Lawson Julie , Milligan Vivienne , Hartley Chris , Pawson Hal , Dodson Jago
Published: June 2023

This research investigates the rationale for an Australian Housing and Homelessness Strategy. Applying contemporary thinking about the role of governments in complex problem-solving, and lessons from other ‘national approaches’ here and internationally, it sets out options for achieving cohesive, co-ordinated action on housing and homelessness in the Australian federation.The landmark UN project Housing2030 conceives of good housing policy governance deriving from clear strategic frameworks, mission-focused institutions, capable stakeholders, long-term leadership and commitment. It typically requires multi-level governance, based on long-term agreements. It is also open to monitoring and critique, strengthens the voice of marginalised groups, learns from mistakes and adapts when necessary. In this way a national housing strategy can be market-shaping and transformative, addressing causes of well understood challenges, designing relevant policies and programs to ensure adequate housing for all.Australia’s primary housing and homelessness mission should be that everyone in Australia has adequate housing. Australian legislation should place an obligation on the Housing Minister to make an Australian Housing and Homelessness Strategy, as well as obligations to regularly report on progress and periodically evaluate and review the strategy.International experience shows the vital role played by dedicated housing agencies co-ordinating the development and implementation of strategies, and, with development, Housing Australia is well placed to be Australia’s lead housing agency and to present the public face of the Strategy as it progresses.
Capitalismo Social e Justiça Social: Explorando a Viabilidade e os Desafios de uma Abordagem Mais Equitativa e Sustentável para o Desenvolvimento Econômico
Authors: da Silva Breno Nery
Published: June 2023

O capitalismo é, sem dúvida, um dos sistemas econômicos mais poderosos e influentes já criados pelo ser humano. No entanto, também é um sistema que enfrenta críticas crescentes por sua incapacidade de resolver questões fundamentais de justiça social e sustentabilidade. A desigualdade econômica está em ascensão em muitos países, com as elites detendo uma parcela cada vez maior da riqueza e do poder, enquanto muitos trabalhadores lutam para sobreviver com salários baixos e precárias condições de trabalho. Além disso, a mudança climática e a degradação ambiental continuam a ameaçar o futuro do planeta.Diante desses desafios, a ideia de um capitalismo social, que priorize a equidade e a sustentabilidade, está ganhando força em muitos círculos. Essa abordagem procura remodelar o sistema econômico existente, de modo a promover uma distribuição mais justa da riqueza e a proteção do meio ambiente, ao mesmo tempo em que mantém a dinâmica de mercado que impulsiona a inovação e o crescimento econômico. Este artigo explora a viabilidade e os desafios de uma abordagem mais equitativa e sustentável para o desenvolvimento econômico, concentrando-se em particular na ideia de um capitalismo social e justiça social. Ao examinar a literatura existente, bem como exemplos práticos de políticas e práticas que promovem o capitalismo social em diferentes contextos, este artigo busca responder a algumas das principais questões que cercam essa abordagem, como: como o capitalismo social pode ser implementado na prática, que políticas e práticas são necessárias para torná-lo viável, e quais são os obstáculos políticos, econômicos e culturais que precisam ser superados para que ele seja adotado em escala global.
Situated Knowledges and Partial Perspectives: A Framework for Radical Objectivity in Computational Social Science and Computational Humanities
Authors: Nelson Laura K.
Published: June 2023

We have entered a new era of scholarship: the computational era. As digitized data and computational methods revolutionize the way we understand ourselves, society, and our place in society, these methods have revived questions about the role of science and objectivity in understanding society. For some, this moment has reanimated the ideal of science as disembodied objectivity, a totalizing ideology long critiqued by feminist and other critical theorists. For others, computational methods have the potential to make transparent the necessary interplay between subject and object in producing knowledge, enhancing the ideal of embodied objectivity. Starting from the premise that objectivity in knowledge creation is a worthy—even utopian—pursuit, this essay argues four things. First, applying computational methods toward the goal of disembodied objectivity profoundly misunderstands the nature of the methods and undermines the revolutionary potential of the current moment for the social sciences and humanities. Second, computational methods are instead perfectly aligned with, and can be used to enhance, the embodied vision of objectivity. Third, embodied objectivity enables us to better leverage computational tools to produce more accurate accounts of the world. Fourth, I borrow from the theory of situated knowledges and partial perspectives to provide four principles to guide this new era of scholarship.
Rancang Bangun Aplikasi Perpustakaan Pada SMP Negeri 39 Kota Bekasi Berbasis Android
Authors: Anaz M Nurul , Sari Retno
Published: June 2023

Perpustakaan adalah salah satu fasilitas yang disediakan oleh sekolah sebagai sarana bahan pustaka yang bertujuan untuk memberikan peranan yang sangat penting dalam menjadikan proses belajar mengajar semakin efektif. Pada proses pengolahan data buku perpustakaan yang masih menggunakan cara manual yang ditulis kedalam buku agenda, sehingga pembuatan laporan buku masih sering terjadi kesalahan serta dalam pencarian buku memakan waktu yang cukup lama. Perpustakaan dituntut untuk dapat memenuhi pemakainya dalam mendapatkan informasi agar lebih cepat dan tepat serta berdaya guna. Dengan adanya sistem informasi disekolah dapat meningkatkan kualitas serta percepatan proses layanan pada pengguna perpustakaan sehingga memudahkan proses belajar mengajar. Metode yang digunakan yaitu metode waterfall, perangkat lunak yang digunakan untuk membangun sistem ini menggunakan Android Studio. Dengan dukungan teknologi informasi saat ini, sistem perpustakaan menjadi lebih terintegrasi baik dari sisi basis data maupun layanan bahan pustaka.
ANALISIS KUALITAS APLIKASI SHOPEE MENGGUNAKAN METODE IMPORTANCE PERFORMANCE ANALYSIS (IPA)
Authors: Andini Roeke Andini Roeke , Nurlela Siti
Published: June 2023

Kualitas pelayanan terkait erat dengan loyalitas konsumen. Kemajuan suatu organisasi dipengaruhi oleh kapasitas organisasi untuk melayani konsumennya. Pelayanan yang diberikan organisasi harus fokus pada norma kualitas yang diberikan kepada konsumennya dan harus berusaha dan melampaui asumsi yang diharapkan oleh konsumen sehingga loyalitas konsumen dapat diperoleh secara efektif oleh perusahaan, karena hal itu dapat membuat konsumen terus menggunakan layanan perusahaan. Alasan penelitian ini adalah untuk menunjukkan peluang memecah tingkat kinerja dan tingkat harapan dalam pengambilan keputusan untuk e-commerce Shopee, sebuah perusahaan bisnis online dalam menawarkan kualitas dukungan. Penelitian ini menggunakan sampel sebanyak 127 responden, dimana respondennya adalah pengguna Shopee dan pernah melakukan transaksi minimal satu kali. Penelitian ini mengarahkan pemeriksaan informasi dengan menggunakan metode Importance Performance Analysis (IPA). Efek samping dari konsentrat sebagian besar menunjukkan bahwa konsekuensi keseluruhan GAP bernilai positif, berarti secara keseluruhan bahwa pada umumnya asumsi dan pelaksanaan aplikasi Shopee sesuai dengan asumsi dan pemenuhan konsumen. Ada 3 atribut yang harus ditingkatkan, 9 atribut yang harus dipertahankan, dan 1 atribut yang perlu dikurangi sesuai kebutuhan yang ditampilkan dalam diagram kartesius Importance Performance Analysis (IPA).
Perancangan Sistem Informasi Perekaman Presensi Dan Absensi Siswa Menggunakan Model RAD
Authors: Komalasari Yuli , Sutoyo Imam , Ayumida Surtika
Published: June 2023

Kegiatan perekaman presensi dan absensi siswa yang biasanya dilaksanakan oleh guru atau petugas piket merupakan kegiatan vital dari operasional sebuah sekolah dalam rangka mendisiplinkan siswa. Oleh karena itu, kegiatan ini perlu ditingkatkan efektifitas dan efisiensinya. Salah satu permasalahan yang menghambat kinerja petugas piket adalah pemrosesan data dan informasi secara manual dikarenakan belum adanya sistem yang terkomputerisasi. Penelitian ini bertujuan untuk merancang sistem informasi perekaman presensi dan absensi yang nantinya dapat dibangun menjadi sebuah Minimum Viable Product (MVP) yang akan menggantikan seluruh prosedur manual sehingga kinerja petugas piket dapat ditingkatkan efektifitas dan efisiensinya. Untuk perancangannya digunakan Unified Modelling Language (UML) dan Entity Relationship Diagram (ERD), sedangkan metode pengembangan sistem yang digunakan adalah model RAD (Rapid Application Development).
Penerapan Model Delon Dan Mclean Untuk Analisis Kepuasan Pengguna Sistem Informasi Akademik SMK Texmaco Pemalang (SIATEX)
Authors: Putri Destiana , Hidayat Miwan Kurniawan
Published: June 2023

Analisis Kepuasan Pengguna Sistem Informasi Akademik
Optimization of Bis-anthraquinones Production from Endophytic Fungi Diaporthe sp. GNBP-10
Authors: Oktavia Listiana , Evana Evana , Fahardita Reza , Agusta Andria
Published: June 2023

Bis-anthraquinones with a unique molecular backbone, (+)-2,2’-epicytoskyrin A (epi) and (+)-1,1′-bislunatin (bis), was produced by endophytic fungi Diaporthe sp GNBP-10 associated with Gambir plant (Uncaria gambier). Epi and bis possess robust antimicrobial activity toward various pathogens. This study focus on knowing the optimum condition of epi and bis production from Diaporthe sp GNBP-10. A series of culture media with various nutrient compositions was investigated in epi and bis production. The content of epi and bis was determined by measuring the area under the curve from TLC-densitometric (scanner) experiment. The linear regression analysis was then applied to obtain the results. The optimized epi and bis production was observed in liquid media 3 containing potato starch and dextrose with the amount of epi produced is 0.484mg while bis content is 0.163mg. The presence of carbohydrates, whether simple sugar or carbohydrate complex, plays an essential role in the bis-anthraquinones production from Diaphorthe sp culture. The presence of minerals and excessive protein sources did not significantly affect bis-anthraquinones production. 

Keywords: bis-anthraquinone, Diaporthe sp, culture media, regression, TLC scanner
The Protective Effects of N-acetylcysteine against 5-Fluorouracil Induced Intestinal Toxicity in Albino Rats
Authors: Al-Hamdany Muna , Al-Hubaity Abduljabar
Published: June 2023

5-fluorouracil (5-FU) is a is Pyrimidine analogue widely used in the treatment of various malignancies It belongs to  the antimetabolites family that acts during the S-phase of the cell cycle thus it prevents DNA synthesis.N-acetylcysteine is nutritional complement acts as antioxidant.The purpose  of the current study is to investigate whether there is a protective  role  of N-acetylcystein against intestinal toxicity induced by 5-fluorouracil in albino rats.18 healthy adult rats were distributed into 3 groups of 6 rats for each. Group A as a control group.Group B injected with 5-FU (20 mgs dissolved in 2ml normal saline per kilogram body weight intraperitoneally for 7 successive days while Group C received N-acetylcysteine 200 mg per kilogram body weight 24 hour prior to FU injections for 7 consecutive days. The animals were sacrificed specimens of intestine (colon) tissue of the three groups were removed and prepared for light microscopic examination.The sections were stained with Harris Hematoxylin and Eosin (H&E) stain and Masson's trichrome stain. Results showed increase in the depth of the colonic crypts in group B rats as compared to the control group, mucinous degeneration of the intestinal mucosal cells along with necrosis, and inflammatory cells infiltration in the lamia propria. The appearance of the crypts is nearly normal in group C with reduction in the depth and normal columnar epithelium lining the crypts the study concluded that 5-FU seriously affects the structure of the intestinal tissue and pretreatment with NAC protects the intestinal tissue against the toxic effects provoked by 5FU via antioxidant effect.
Caribou
Authors: Melski Michael
Published: June 2023

Caution: Copyright Michael Melski, 1998. 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 rights and copyright information contact Michael Melski, 6 Winchester Ave., Halifax, NS B3H 2C8. Tel.: (902) 477-4035.
BC Oddities: Interpellation and/in Joan MacLeod’s The Hope Slide
Authors: Derksen Céleste
Published: June 2023

This paper is, in part, a meditation on what I think it means – what’s at work – when I identify myself as a BCer. Certainly those who live in British Columbia know that BC is made up of different geographies, histories, peoples and communities. And yet, most of us will identify ourselves at one point or another (as this conference identifies us) as BCers, or – to take the more distinguished, but less distinctive tenor – as British Columbians. I want to consider, through some examples of what I would hail as BC drama (with specific attention to plays by Joan MacLeod), the kinds of myths, markers and ideological workings that go into my self-identification as a BCer.
Cultural Democracy in the Enderby and District Community Play
Authors: Little Edward
Published: June 2023

These were just some of the resources mobilized over a period of eighteen months to produce The Enderby and District Community Play. Based on the Colway style developed in Britain by Ann Jellicoe during the 1980s, the play ran for ten nights between 18 and 29 May 1999. The project marks the fifth time a full-scale Collaborative Community Play has been produced in Canada and the first use of the form in BC.1 In keeping with Colway’s mandate of “inclusivity,” the project sought to bring together residents from as many diverse backgrounds as possible to create and produce a play meeting the highest possible artistic standards. The inclusion of participants from neighbouring settlements, including the Spallumcheen band of the Shuswap First Nation, was a priority.
In Review
Authors: Dicenzo Maria , Ellis Jim
Published: June 2023

Allegro molto con brio king kong, subtitled “a digital opera,” is a complex and compelling mixture of dance, video, live music and pre-recorded singing. Ultimately based on the Prometheus legend, the opera is an investigation of the intersections between technology, culture and myth in the modern era. Allegro premiered 8-10 April 1999 at Dancers’ Studio West in Calgary, part of a season that featured the work of emerging Alberta choreographers. The principal collaborators were Doug DeRoche, who wrote the libretto, choreographer Danielle McCulloch and composer Kenneth Doren, who was also responsible for the original concept and for the various multimedia aspects of the production.
Staging the Pacific Province
Authors: Gilbert Reid
Published: June 2023

The impetus for this special issue came from the first British Columbia Theatre Conference, “Staging the Pacific Province,” held at the University College of the Cariboo, in Kamloops, BC, 13-16 May 1999. James Hoffman of UCC spearheaded this conference, with an organizing committee that included Malcolm Page (Simon Fraser University), Celeste Derksen (University of Victoria), Jerry Wasserman (University of British Columbia) and me (Capilano College).
“A word in a foreign language”: On Not Translating in the Theatre
Authors: Byczynski Julie
Published: June 2023

Margaret Atwood’s poem, written in the voice of British immigrant/gentlewoman Susanna Moodie, suggests that to be a newcomer to Canada is to feel like “a word/ in a foreign language.” What happens when that “foreign” voice is spoken on stage before an audience? Contemporary Canadian plays that are by and/or about immigrants often employ untranslated minority languages.1 What are the implications of using “foreign” words on stage? What might it mean to not translate theatre?
Confessions of a Virgin Bride Bride of Franken Fringe: Edmonton’s 18th Annual International Fringe Theatre Festival
Authors: Scott Shelley
Published: June 2023

The journey to the Edmonton Fringe begins the previous fall, when theatre artists start filling in forms and coming up with the $535 entry fee. The first twenty-five individuals in the Line-Up method get in, as do lucky participants in the local and international Lotteries. By the middle of November, companies are slotted into the schedule – and have until March, when the program descriptions are due, to come up with a show. There is also a Bring Your Own Venue option, where the company finds a suitable location, pays a reduced entry fee ($300), and negotiates with their “found” venue’s operators and Artistic Associate David Cheoros to ensure that everyone understands the unjuried and uncensored nature of the Fringe.
Open the House
Authors: Barnstaple Rebecca
Published: June 2023

In the shadow of the End of everything (when everything still remained) there lives a mystery that walks around trying to understand itself. Humanity is always lonely, always wanting some validation. This tendency has been exacerbated by the consumer-thing relation that infects our current paradigm.
Steal Well: Racial and Ethnic Diversity in the Club Queen World
Authors: Gilbert Sky
Published: June 2023

I’ve been dressing up in drag for years. But, in reality, I’m a cultural tourist. Sure, I’m an “out-of-the-closet” gay man, but I most often dress like a girl when I’m tired of playing the part of author, playwright or political activist. My boyfriend and I often appear at openings and book launches in drag together. It’s a great way to avoid the social pressures that are required of us when we dress as men. We can flirt like crazy (with little consequence) and refuse to respond to comments about anything except fashion and sex. On occasion, I am paid to dress up in drag and play a part in a play, or read from my poetry. Again, I gladly do it. And for years, I assumed that my forays into drag for fun and performance were similar to the experiences of (what we in the gay community call) “club” queens. But the professional theatre scene and the club scene are two very different worlds. Club queens are the drag queens who perform in the gay bars.
Making It Easy to Believe: A Tourist Goes to the Psychic Fair
Authors: Johnson Stephen
Published: June 2023

What is a non-believer to do in the face of an exhibition of the supernatural by those variously called psychics, clairvoyants, seers, mystics, sensitives or spiritualists? While clearly the agreement between the exhibitor and the client/spectator calls for belief in the supernatural’s existence and immediate presence, disbelief does not preclude a relationship. If I am a non-believer, however, I must read the event quite differently based on the intentions of the exhibitor. I can consider the exhibitor a liar, and observe the event as if it is fraud; in this case I might watch in stony silence, or vocal effrontery, or cynical amusement, depending on the extent of the exhibitor’s power over the client/spectator, the amount of money changing hands … and the strength of my own disbelief. I might consider the exhibitor genuine but self-deluded, and observe the event with astonishment, or anger, or condescension - again, depending on my perception of any danger to believers, or to myself. Finally, I can witness the exhibition of the supernatural as if it is a theatrical performance, and admire and assess the psychic according to character and spectacle. I would then put aside the non-believer’s concerns about fraud and self-delusion and assume a measure of theatrical self-consciousness on the part of all concerned. To some extent this may be true; a good “show” can be appreciated under any belief system. To some extent, however, I suggest that this is another form of self-delusion, a false “as if” that positions the event at a comfortable distance and the spectator on an apparently safer higher ground from which to watch.1 While the cultures of the occult and the theatre have a long and inextricably complex relationship, both have just as complex a relationship with the culture of commerce. Not all psychics conduct their readings as small businesses, any more than all theatrical performance is commercial. But to the extent that commerce is a goal, strategies are at work that are not necessarily theatrical.2
In Review: Somewhere Else, The East End Plays, Part 2, Suburban Motel (revised edition), Essays on George F. Walker: Playing with Anxiety
Authors: Dicenzo Maria , Walker George F. , Johnson Chris , Hadfield Dorothy
Published: June 2023

Historiographically, 1999 was a big year for George F. Walker: Talonbooks brought out three volumes of collected plays (a total of thirteen more-or-less individual works), and Blizzard published the first full-length book of criticism devoted entirely to Walker and his plays. By the time the new millennium became the most over-staged non-event in history, students and teachers of Canadian drama did not have to look too far to find a playwright with a significant historical past and presence available for inclusion in their courses. This at a time when our political-economic climate does not particularly favour indigenous publishing of Canadian literature, with government funding policies that clearly prefer to put their trust in the cultural benevolence of the huge American publishers. The odds are stacked even further against dramatic literature: as Maria Campbell argues in the introduction to The Book of Jessica, “Who reads plays, anyway?” and certainly plays and criticism tend to have a considerably lower shelf and reader appeal than does literature. Even given the reasonably strong (if not solid) positions that Blizzard and Talon have fought to establish within Canadian (dramatic) publishing, this focus on one playwright is somewhat remarkable. To paraphrase from Walker’s own dialogue, if “there is definitely hardly any justice in the world,” is there any discernible reason why Walker is among the “haves,” rather than the “have-nots,” when it comes to published texts? Do the plays of George F. Walker, indeed, have a “special quality that can be marketed,” or are these four volumes just evidence of Walker’s own good luck?
The Devil and Joseph Scriven: Fair Play
Authors: Peacock Shane , Winslow Robert , Bateman David
Published: June 2023

Eight years ago Robert Winslow began to fulfil a dream he had nurtured during several years of formative work and training as an actor and director across Canada: to stage regional drama on the site of his family farm. With the aid of countless local artists, he was able to embark upon a more focused mandate for his own artistic vision, as well as for the vision of many others who see regional stories as neglected and worthy of theatrical recuperation. With Winslow as artistic director, the Fourth Line Theatre Collective has helped to provide a venue for many of these stories. The company’s mandate, to seek out and to nurture regional historic narratives, has been a valuable and exciting project for artists and audience alike as they have ventured out, each summer, into the rural Ontario environment that comprises Fourth Line’s outdoor multiple stage sites.
Alien Creature: A Visitation with Gwendolyn MacEwen
Authors: Griffiths Linda , Heath Simon , Komarek Jan , Wood Brent
Published: June 2023

Exactly twelve years after her death, the spirit of poet Gwendolyn MacEwen paid a four-week visit to the material world in Theatre Passe Muraille’s dark, intimate Back Space. Each night, while crowds lined up for the flashier Main Space production of The Drowsy Chaperone, a smaller group packed themselves into the Back Space to visit with MacEwen through the medium of acclaimed Toronto playwright and actor Linda Griffiths.
Critical Stages: Canadian Theatre in Crisis
Authors: Vogt Gordon , Filewod Alan
Published: June 2023

The title is a misnomer: this isn’t really a book about Canadian theatre in crisis, except insofar as crisis is the surtext of any book about Canadian theatre. It is in fact a collection of reviews by one of the best but least remembered critics to have commented on theatre in this country. For a brief few years before his untimely death of a brain tumour in 1985, Gordon Vogt was a frequent contributor to CBC Radio’s Stereo Morning. His voice, the rich, raspy voice of the jazz singer he was, often kick-started my mornings in the early 1980s.
Laughing Blues: Charly Chiarelli’s Cu’Fu?
Authors: Graham Catherine
Published: June 2023

Charly Chiarelli’s Cu’Fu? is something of a phenomenon. First produced as part of Artword Theatre of Toronto’s Festival of the Human Voice in May 1995, this one-man show about a Sicilian boy who grows up Canadian in working-class Hamilton has gone on to performances across the country and a broadcast on Bravo TV. Yet here in Hamilton, where I saw performances at the Ontario Workers Arts and Heritage Centre in September 1998 and December 1999, the show felt more like a huge family gathering than an artistic sensation. Italian Canadian friends tell me that as soon as it is known that the show is coming back to Hamilton, people who have already seen it three times start buying blocks of tickets, knowing that they will easily find sisters, brothers, cousins and aunts who want to join in the fun. 1 Some of them even invite mangia cake relatives and friends like me, who are fascinated by the prospect of seeing a performance that elicits such a profound sense of recognition in the Italian Canadian community. Perhaps, we think, we will understand a little more about the traditional Italian families that are so much a part of our friends’ lives if we just hear Charly Chiarelli tell this story about his. Perhaps we will even be able to join in the nostalgia for the warm family life of Italian childhood that reviewers so often mention when they talk about the show (see “Reviews and Articles”). Perhaps, for the space of a performance, we will even feel that we are part of this big Italian Canadian family and that their warm and supportive past is our past too.
Five-Fold Translation in the Theatre of Marco Micone
Authors: Pivato Joseph
Published: June 2023

In the complex relationship between the literatures of English Canada and Quebec, translation has played an important role. Now, with the emergence of ethnic minority writing in Canada, this binary model of the literary institutions must be reformulated. The processes of translation are made even more complex by the phenomena of heritage languages and ethnic minority cultures. How are these developments represented on stage in the French theatres of Montreal?
The Private Becoming Public
Authors: Astwood Laura
Published: June 2023

A Woman I Know … (Una Donna Che Conosco …) is a two-hander written and performed by Alessandra di Castri, an Italian from Naples, and Laura Astwood, a Canadian from Toronto. The piece is bilingual in Italian and English, directed by Richard Fowler. Astwood, di Castri and Fowler met in the context of Primus Theatre; Fowler was the artistic director of Primus throughout its existence from 1989 to 1998, and di Castri and Astwood joined the company as apprentices in 1995. Una Donna was begun in Winnipeg and completed in Nocelle, Italy. It has been performed in Nocelle, in Naples as part of the Marzo Donna Festival and in Positano and Torella dei Lombardi in association with the Scuola di Memoria delle Donne. It will be performed in August 2000 in Highland Lake, NY, at the First Ever Catskills Experimental Theatre Festival, hosted by the North American Cultural Laboratory, and subsequently on tour across Canada, at Simon Fraser University in Vancouver, Prairie Theatre Exchange in Winnipeg, Theatre PEI in Charlottetown and various points in between.
A Modo Suo (A Fable)
Authors: Nardi Tony , Dialect Calabrian , Mazza Antonino
Published: June 2023

A Modo Suo (A Fable) was first produced in Toronto, in Calabrian, at The Stage Upstairs (Canadian Stage), by Mimesis Theatre in April/May 1990, with the following cast:
Performing Ethnicity: Italian Canadian Theatre
Authors: Dicenzo Maria
Published: June 2023

In the course of a CTR planning meeting some time ago, one of the members of the editorial team turned to me and asked, “What about a future issue on Italian Canadian theatre?” That meeting, and the phone call I made to the Ontario Workers Arts and Heritage Centre later that afternoon, marked the beginning of a series of coincidences which have led to this issue of CTR. Raised on superstition, I know an omen when I see one. The call was an attempt to find a script. I had heard about a play dealing with growing up Sicilian in Hamilton which had been performed at the Centre, so I thought they could help me track down the playwright. To my delight, the telephone recording announced held-over performances, due to popular demand, of Cu’Fu?, and I managed, against the odds, to get some tickets. There is so much I would like to say about this rich and wonderful show, but I leave that to Catherine Graham, whose article kicks off the issue. What I will say is that the process of unravelling my own perceptions of the show and the overwhelming responses I witnessed on the part of the audience (including my English husband and Italian mother!) were crucial factors in shaping the concerns of this issue—the roles of social class, regional identity, language and gender in the production and reception of Italian Canadian theatre.
Lepage’s Polygraphe in Italy
Authors: Ziraldo Cristiana
Published: June 2023

One day, I was cycling along a road in my home town of Udine, in the north-east of Italy, when a long row of posters advertising the national debut of Robert Lepage’s Polygraphs La macchina della verità caught my attention. (The subtitle was added to the Italian translation of the play by theatre critic Franco Quadri.) In that moment, memories surfaced: my days in Canada when I studied for my MA at the Department of Drama at the University of Guelph and, particularly, the day when, as part of my studies, I went to Toronto with classmates to see Lepage’s The Seven Streams of River Ota. Before then (1995-1996), I had never been exposed to Canadian theatre, and I knew very little about it; that was the reason why I left Italy to carry out my studies in Canada. So little was known then in Italy about Canadian literature and, in particular, about Canadian drama. For most Italians, Canada was seen as an adjunct to the United States. Seeing these posters in my home town, less than five years after I’d studied in Canada, struck me: I had gone to Canada to learn about Canadian drama, and now a Canadian play was being produced in Italy. Needless to say, I immediately booked a ticket to see a performance in the run at the Teatro Nuovo Giovanni da Udine from 2-5 March 2000. The premiere was a great success, with most of the audience responding enthusiastically. The audience seemed to know Robert Lepage’s reputation as an outstanding Canadian playwright and practitioner because the leading theatre company in Udine, Centro e Servizi e Spettacoli di Udine, had already hosted three of his plays, namely Les aiguilles et l’opium, La géométrie des miracles and Elsinore.
A Passage to Belgium: George F. Walker’s “Problem Child” in Brussels
Authors: Maufort Marc
Published: June 2023

The 1999-2000 season of the Brussels Théâtre de Poche was marked by its significant production of Canadian dramatist George F. Walker’s “Problem Child”. Although Brussels is generally regarded as a major theatrical platform in Europe, this production constituted Walker’s first performance ever in Brussels, in a French-language translation. French Canadian plays are not unknown to the Belgian theatre going public - witness the repeated success of Tremblay’s dramas over the years in various Brussels venues. However, the entire English Canadian repertoire remains virtually unknown in this European capital. For this reason, the premiere of Walker’s “Problem Child” by the Théâtre de Poche will remain a landmark event in Belgian theatre circles: to my knowledge, it represented the first English Canadian play to be produced in Belgium.
A Glimpse of Canada in India
Authors: Budhiraja Geeta
Published: June 2023

M.S. University Baroda, in the state of Gujarat, has the distinction of having produced two Canadian plays, Sharon Pollock’s Generations and George F. Walker’s Love and Anger. These productions were sponsored by the Indian Association of Canadian Studies (IACS), which has, from its inception, organized seminars and workshops on different aspects of Canadian studies, including multiculturalism, interdisciplinarity and postcolonialism. Comparative studies on Indian-Canadian works have also been popular themes because they facilitate establishing cultural and social similarities between the two countries. In the winter of 1994, the Center for Canadian Studies, M.S. University, organized a month-long workshop on drama. Professor Robert Fothergill (Department of Theatre, York University, Toronto) conducted a workshop in conjunction with directing a production of Sharon Pollock’s Generations that ran only for a single performance, on the last day of the workshop.
Staging the North: Twelve Canadian Plays
Authors: Grace Sherrill , D’Aeth Eve , Chalykoff Lisa , Clement Lesley D.
Published: June 2023

Because of the diverse perspectives provided by both visitors to and residents of these various Northern “stages,” Staging the North: Twelve Canadian Plays challenges the existence of any monolithic idea or myth of the North. “Degrees of North,” Sherrill Grace’s valuable introduction to this anthology, indicates that the editors were aiming for this kind of interrogation when selecting plays for inclusion: “Whose North? What stage?… Which playwrights? Staging for whom? The ‘true North,’ like the ‘we’ who guard it in the Canadian national anthem, is a complex, changing, and problematic term” (ix). Staging the North successfully captures the “complex, multiple identity” of the North and, by implication, Canada (xxi). The winter 1992 issue of Canadian Theatre Review, devoted to “Arctic Theatre Makers,” observes that “throughout the North, theatre has evolved from the oral traditions of storytelling” and that therefore scripted plays are unusual (3). Sherrill Grace and her co-editors have compiled a useful anthology with extensive introductions to each play and playwright and a representative sampling of regions, terrains and outlooks. There is, however, unity in this diversity, if not a pattern in the mosaic: the indebtedness that all twelve plays have to the oral and visual traditions of those art forms indigenous to the North.
Pedagogies, Politics and Practices in Working with Youth
Authors: Little Edward (TED) , Fossen Rachael Van
Published: June 2023

In 1998, following consultation with federal, provincial, territorial and municipal cultural departments, various arts councils and almost 200 Canadian artists and arts professionals, the Canadian Conference of the Arts (CCA) released its “Arts in Transition” report. Amongst other findings, the report concluded that education, training and funding of artists in Canada tend to continue emphasizing “modernist traditions” that place primary value on the artist as solitary creator – an approach oriented overwhelmingly to the development of artistic skills. While the report acknowledged that this model “has produced and continues to produce many exceptional artists and works of art,” the CCA also voiced the concern that many younger artists find the model confining, unable to accommodate their desire to work more closely with communities and to incorporate social and ecological issues into their art“ (5, 6).
Productive Transgressions: The MarshFire People’s Theatre Company
Authors: Fancy David
Published: June 2023

“The dykes! The ageless long sinewy spines of the marsh, haven for grasses, for pheasant, for fox and sea foam, haven for murderers, poets, crooks, vagabonds, visionaries and psychopomps! The tremendous backbreaking sweatmaking labour of all those dykes that heave a sigh of relief everytime the tides go away for a while.”
Youth. Theatre. Politics.
Authors: Crowder Eleanor
Published: June 2023

Is this really your job? Incredulity always. You mean, you get to play all day? Like, all the time?

In a world where work equals serious purpose, theatre defies the definition of job. We have too much fun. We look at each other too hard. We grow too close in rehearsal. Theatre is by its very nature subversive of industrial routine. Acting a range of perspectives and power leaves a body open to the permanent implications of living those realities. We play far too seriously.
Learning to Be Bold with Lighting: A Conversation with Andrea Lundy
Authors: Watts Allan
Published: June 2023

Andrea Lundy is a lighting designer and production manager based in Toronto. Her work with directors such as Daniel Brooks, Dennis Garnham, Alisa Palmer, Laszlo Marton and Sarah Stanley consistently receives critical acclaim. She has been nominated for nine Dora Awards and has won the award for Outstanding Lighting Design four times. Allan Watts talked to Andrea Lundy at Tarragon Theatre.
Seeing the Light: Montreal’s Axel Morgenthaler
Authors: Cappeluto Ana , Little Edward
Published: June 2023

Before moving to Canada in 1991, Swiss-born Axel Morgenthaler worked as a lighting designer for Italian actor Massimo Rocchi, toured international festival circuits and worked as assistant painter for Sol LeWitt. Since his arrival in Montreal, Morgenthaler has established a reputation as one of Quebec’s leading innovators in visual and lighting design. His work has been seen across Canada, the United States and Europe, in production with companies including LaLaLa Human Steps, the Alvin Ailey Dance Foundation, Montreal’s O Vertigo Danse and with directors and choreographers such as Robert Lepage, Wajdi Mouawad, Alonso King, Jocelyne Montpetit, Marie Chouinard and Stephen Petronio. Work such as his design for the opera Kopernikus (produced by Autumn Leaf, Toronto, and the Banff Centre for the Arts in 2000) is resulting in growing recognition for him in the English-Canadian milieu.
Lighting Reflections: Phillip Silver Interviewed by Allan Watts
Authors: Watts Allan
Published: June 2023

Phillip Silver is a veteran Canadian designer of lighting, sets and costumes who teaches in the Theatre Program at York University and is currently Dean of the Faculty of Fine Arts. Phillip is a member of Associated Designers of Canada. He recently talked to Allan Watts in his office at York.
Angélique, The Hats of Mr. Zenobe, Still the Night
Authors: Gale Lorena , Astle Robert , Tova Theresa , Stovel Gillian
Published: June 2023

Here are three plays that deal with the clashing of cultures in situations of war and social injustice. All three leave the reader or audience member with a striking set of images and an invitation to consider his or her own position in relation to the story. In all three, I was struck by the consistent use of the motif of infant death, of songs and of staging notes that place little importance on accurate physical representation of time and place. These are plays where linear notions of time and space are rejected for forms of time and space that work according to the needs of the story. All three take a flexible approach to the portrayal of several time periods, a powerfully subjective choice.
The Paradox of Stage Lighting in Canada: Sometimes So Transparent that It’s Invisible
Authors: Lane Harry , Watts Allan
Published: June 2023

As theatre historians tell us, our word “theatre” is rooted in performance as a visual experience, deriving from the Greek “theatron,” literally “a place where you see or behold.” And that emphasis is continued in our only English word for a single member of an audience: “spectator.” Since most of our theatre is performed in the dark (either indoors or outdoors after nightfall), most of it would be invisible without stage lighting, and yet stage lighting in Canada suffers from a strange kind of disregard. The Canadian Opera Company’s (COC) 2001-2002 subscription brochure provides a case in point. The opening paragraphs, by General Director Richard Bradshaw, emphasize the increasingly visual importance of contemporary opera: “Increasingly, opera is exploring our heightened sense of visual acuity. What I’m interested in … is work that engages you to the point where you see with your ears and hear with your eyes” (2). As if to emphasize his point, almost every page of the brochure is dominated by the image (or partial image) of a face sculpted by dramatic key lighting. Paradoxically, however, as the brochure lists its seven impressive-sounding productions for 2001-2002, it follows a very Canadian (and perhaps international) pattern of listing the composer, conductor, stage director, set and costume designers and then the major singers. There is, of course, no mention of lighting designers; their work is visible everywhere in this brochure, but they remain unnamed and in the wings (or on the grid).
Co-producing A Dream
Authors: Shand Skip
Published: June 2023

This is the genesis of an interpretive choice. A young director, charged with creating a co-production from a combined group of paid professionals and senior acting students, agrees on A Midsummer Night’s Dream. He finds, however, that his twenty-one-actor company is one too many. So he decides to assign Puck to two different women, one pro and one student, who will alternate during the two-week run.
Redrawing The Drawer Boy
Authors: Hauck Gerhard
Published: June 2023

Everybody loves a success story, and in Canadian theatre they don’t come much bigger than Michael Healey’s The Drawer Boy. Within a mere two years of its first presentation at Toronto’s Theatre Passe Muraille, and twenty-nine years after Paul Thompson’s seminal The Farm Show (from which it drew its life), The Drawer Boy has been staged at more than twenty theatres across Canada in a dozen original productions; won its author the 1999 Dora, Chalmers and Governor General’s Awards; received three professional productions in Toronto alone, including a six-week, eighty-nine per cent capacity run at the 1,000-seat Winter Garden Theatre; been produced with a star-studded cast by the famed Steppenwolf Theatre in Chicago; and met with standing ovations wherever it was staged. In addition, another co-production this fall will take the play to the National Arts Centre, the Vancouver Playhouse, the Edmonton Citadel and Hamilton’s Aquarius Theatre; Michael Healey himself will direct the play at Vienna’s legendary English Theatre (where works by the likes of Tennessee Williams and Edward Albee received world premieres); discussions are underway to render the play for the big screen; and, finally, there is enough pent-up demand for the play from many American regional theatres, theatres across Britain and Australia and from amateur theatres worldwide to provide Healey with a handsome residual income for a very long time. While Michael Healey seems to take his success in stride – “It’s made me less grumpy” and “I think my new Jetta is a little too big for me, I may replace it with a Golf” (Healey, personal interview)1 – how good are we, collectively, as a young theatre culture at handling “our own” successes, especially when they are reproduced throughout the continent? How well do we respond to these re-productions, as both participating artists and critics, and what are some of the issues which concern us with re-productions staged in a context that is not our own?
Inventing Kopernikus: A Retrospective Journal
Authors: Bernardi Guillaume
Published: June 2023

Opening night of Claude Vivier’s opera Kopernikus at the Théâtre Maisonneuve, Place des Arts. We have been performing it in a few Canadian and European cities since August 2000.1 This is by far the biggest and most prestigious hall in which we have performed: it seats nearly 1,200 people. Probably way too big for a chamber piece like Kopernikus. By now the performers and the technical team know the piece very well. It should be an easy remount.
Joining Forces in Summer Theatre
Authors: Rhijn Judy Van
Published: June 2023

The summer slate of theatre festivals looks as busy as ever this year, particularly in south-western Ontario. If you look closely at the playbills, you will see many shows being replicated at different venues. Although some are independent productions, chosen by coincidence by different theatre groups, a growing number are joint or co-productions between the playhouses. With financial realities to face and artistic compromises to make, the practice of joining forces and pooling resources seems to be here for better or for worse.
Ejaculations from the Charm Factory: A Memoir By Sky Gilbert
Authors: Johnston Dawn
Published: June 2023

Sky Gilbert begins his memoir Ejaculations from the Charm Factory with a question. He expresses his own “trepidation” about the piece, wondering what about Sky Gilbert’s life would “hold anyone’s interest through a whole book” He answers his own question aptly – it is the “important period of time” in which he has lived and worked. The strength of this text lies in Gilbert’s thoughtful and thorough analyses of and reflections on the events and atmosphere of this very important twenty-year period from the late seventies through the late nineties. The weakness lies in the gossipy, exploitative tone of much of the book – a book which would have better served Buddies in Bad Times, Sky Gilbert and his readers if it had pushed the boundaries of analysis a little further and avoided the tendency towards name-dropping a little more.
Sitting and Talking ... about Movement?!
Authors: Batdorf Erika , French Leslie , Lyons Sallie , Marrion Catherine
Published: June 2023

Four women, theatre and pedagogical professionals, sat around the table in the urban glaze of a Toronto summer, talking about movement training for the actor. Any of us, individually, could have spoken at length on the issue. However, out of a craving for collegial exchange about our work, we chose interaction. Here are some of our thoughts about what we do, how we do it, and some inherent challenges.
Making MindLands
Authors: Hamilton W.A.
Published: June 2023

The idea that eventually became my play MindLands was, from its inception, a model of Writing 101. I was setting out to write about what I knew, except that I didn’t know that I knew. My mission was to understand the people I grew up with, some from kindergarten and onwards, who to my eyes had settled for a life of bland rhythms and safe familiarity. I envied their clarity. Why wasn’t I like so many of my friends and family who liked life just the way it was? Why couldn’t I be happy with things just the way they were?