Real Estate and Theatricality in Vancouver’s Downtown Core
Since 1995 and 2002, London’s Yellow Earth Theatre (YET) and Toronto’s fu-GEN Asian Canadian Theatre Company have been producing work under the identity labels of “British East Asian theatre” and “Asian Canadian theatre” respectively. Emerging out of different socio-cultural contexts, the companies have nonetheless produced plays that address similar themes around mixed-race identities, immigration, and the experiences of first- and second-generation East Asians living in Britain and Canada. Despite burgeoning research on Asian Canadian theatre and British Chinese culture—developments that echo the pioneering directions of Asian American theatre scholarship—studies have tended to focus exclusively on cultural work produced by East Asian artists within the national boundaries of America, Canada and Australia. Inspired by two emotionally charged events that I attended in Toronto and in London that drew attention to the parallels between ethno-national theatre produced in different western cultures, this thesis investigates the background, mandates, and key works of two leading theatre companies in order to compare their dramatic strategies. Using data from published and unpublished scripts, published reviews and interviews, archival video where available, and the companies’ press and public material through their websites, this thesis argues that comparing theatre companies across ethno-national contexts can reveal insights about how familiar dramatic strategies such as the absurd, fantastical, spectral, and audience interaction, have additional import in identity-centred work.
This is a study of DramaWay – a Toronto-based company that facilitates creative arts programming for individuals with special needs. Founded in 1999, this company has grown and developed to provide a sought after service for the disability community in the Greater Toronto Area (GTA). While there are other companies in Canada providing similar opportunities, I interrogate DramaWay’s distinctive approach within the broader context. More particularly, I investigate how DramaWay’s praxis contributes to the continuing development of disability theatre in Canada. Their work, I argue, merits more scholarly and critical attention than they have thus far garnered in the broader literature concerning disability performance in Canada and abroad. In this thesis I build from the insights of this broader scholarly field to provide an in-depth analysis of DramaWay’s history, artistic praxis and current educational infrastructure. Through my examination of archival materials, as well as information gathered through formal interviews with DramaWay’s artistic director, staff, volunteers and performers, I conclude that DramaWay’s praxis in presenting the talent of performers with special needs provides a unique and valuable contribution to disability theatre in Canada.
At Anglophone Canada’s four professional farm theatres, performance often foregrounds relations between beings and landscapes in unusually rich and striking ways. In this thesis I argue that the success of these theatres lies largely in their ability to connect audiences affectively to the specific natural environments of their performance sites or regions, and to embody the stories held within these respective rural spaces. More particularly, they share the stories of two land-hungry eras: the settling of what is now Canadian soil by European colonizers, and the transformation of farming culture since 1950, including the back-to-the-land movement of the nineteen sixties and seventies. Four questions guide the analysis. What do the histories, geographies, mandates, programming and other artistic choices of these farm theatres reveal about each theatre's relationship with the land on which they perform? Do the theatres share any common impulses? What distinguishes their efforts and aesthetics? How does the land itself perform? Research presented in this study builds from spatial thought in theatre studies, archival research on the four theatres and their histories, inquiry into the material history of the theatres’ sites, and performance analyses of select productions. More particularly, I provide close readings of a single night’s offering in each theatre’s 2013 season. This includes, Peter Anderson’s Head Over Heels at the Caravan Farm Theatre near Armstrong, B.C.; the collective creation Beyond The Farm Show at the Blyth Festival Theatre in the village of Blyth, Ontario; Andrew Moodie’s The Real McCoy at 4th Line Theatre in Millbrook, Ontario; and both Shakespeare’s As You Like It and the Iliad by Fire by Ken Schwartz (from Homer) at Two Planks and Passion in Canning, Nova Scotia. The thesis brings together research that demonstrates how the material evolution of Canada is deeply tied to farming. It charts how the theatres considered here are similarly connected, and posits a new field of agro-poetics, to which these four companies’ respective aesthetic innovations and animations of sites are contributing.
The purpose of this study is to examine the relationship between empowerment, feeling, and performance by analyzing the act 1 finales from two Broadway musicals: “Defying Gravity” from the 2003 production of Wicked and “One Day More” from the 1987 production of Les Misérables. A genre of performance in which feelings, of empowerment and otherwise, are generated and circulated in amplified ways, the Broadway musical provides a productive site to investigate the relationship between empowerment and feeling; moreover, both “Defying Gravity” and “One Day More” are signature numbers frequently associated with empowerment. To complete my analyses, I use an interdisciplinary approach which combines theatre and performance studies, affect theory, and social science-based arguments about empowerment in order to demonstrate how affect theory gives us valuable language to analyze the constellation of artistic elements which contribute to the numbers’ affective power. Building from this work, I suggest that both numbers perform empowerment by emphasizing power and change, two characteristics which have been highlighted as essential in empowerment scholarship. Ultimately, I argue that sensations of empowerment become the primary point of connection between stage and auditorium through performance.
This thesis investigates Headlines Theatre Company’s use of simulcast online video broadcasts of their forum theatre events through two case studies, Here and Now (2005) and after homelessness... (2009). I consider the place of these broadcast’s within Headlines’ Artistic Director David Diamond’s particular practice, Theatre for Living (TfL) and its aim to create community-based dialogue. Through digital performance theorist Steve Dixon’s four categories of interactivity, I explore how the online viewer’s participation in the forum event is filtered via the use of web-actors, and the complications this has had for the broader TfL mandate. I analyse the web-actors’ function using Dixon’s concept of “The Digital Double”, to explore how the role they have in the forum event is akin to that of avatars. This analysis draws primarily from David Diamond’s published works, personal journals and reports following each production as well as recorded broadcasts of the two case-study performances. Read together with current scholarship of performance and digital technology, I argue that these case studies suggest how technology both has and has not served the TfL mandate and consider how Headlines’ practice is complicated by simulcast online video broadcasts.