Last week I had the opportunity to catch a sneak-peek of the upcoming Public Recordings premiere of what we are saying. The work is complex and speaks to a number of relevant conversations regarding performance and social relationships in the here and now. What follows is just a few (of many) issues that this creation brings into focus.
Hotel Modern’s theatrical re-imagining of the horrifying events that unfolded in Auschwitz mixes theatre, music, video, sculpture and puppetry into a performance that features thousands of eight-centimetre-tall handmade figurines within an enormous scale model of the camp. A small camera is used to film and project the story onto a screen, which is like “watching a grainy newsreel, an animated …
Kaeja d’Dance is one of Canada’s longest standing contemporary dance companies, founded by husband and wife duo, Allen and Karen Kaeja. They are involved in film, stage, education, and outreach programs that explore and promote dance with audiences internationally. They have won numerous awards around the world for their work and most recently was awarded Canada’s inaugural national 2012 Canadian Dance Assembly ‘I Love Dance’ Community Award.
Ame Henderson is no stranger to World Stage. In 2010, her company, Public Recordings, premiered relay, a performance that blurred the often hard-and-fast line between audience and performer.
Pushing off from relay, what we are saying expands Public Recordings’ experimental repertoire using language and movement to explore the possibility of a leaderless togetherness. A huge room filled with chairs is the obstacle necessitating a unified strategy from the performers and the audience. How we do it is everyone’s guess.
After witnessing last year’s world premiere of Laura’s Cow: The Legend of Laura Secord, my youngest daughter auditioned for the Canadian Children’s Opera Company. This year she’s in the chorus, on stage with 200 kids, dancing and belting out the story of Canada’s iconic heroine. This is definitely not your average kids’ school concert. The Canadian Children’s Opera Company is the only permanent children’s opera company in Canada. In the months leading up to the show, kids rehearse at least three days a week and take voice lessons.
My name is Alice Nelson and I’m a theatre artist coming to do a shadow puppetry workshop at HarbourKIDS. I make a living through acting, directing, playwriting, stilt-walking, puppetry, clown, mask making and creating plays with kids!
I did my training at an amazing school called Dell’Arte Physical Theatre School. It’s kind of like ‘Hogwarts for actors’. I compare it to Hogwarts because it’s right in the middle of the redwood forests. The redwoods are incredible trees, averaging a height of 200 feet (61 meters)! It feels like the school is in the middle of a magical forest. While I was there, my program required me to create magic all day…. that is to say, use my imagination to create stories onstage with other artists. Through creating a world onstage, we were able to make the audience believe in the unbelievable. I like to think we were getting our wizard training.
For the final HATCH presentation, multidisciplinary Winterreise Collective is exploring Franz Schubert’s celebrated song cycle through the personal lens of the diverse Canadian experience. Part concert, part play, part dance and part memoir, Winterreise Projekt weaves the classic and the contemporary, the public and the private, into a distinctly Canadian tapestry of winter.
In association with Harbourfront Centre, CanAsian Dance is bringing the CanAsian International Dance Festival to our 2013 NextSteps season. A combination of performances, matinees, films and workshops that reflect dance traditions from across Asia.
Pieter Ampe & Guilherme Garrido took male bonding to a whole other level Tuesday night in their World Stage debut of Still Standing You. Using their bodies as instruments to shamelessly seek out what they mean to each other, no physical or emotional stone was left unturned. Still Standing You is unique, startling, hilarious and physically intense. So physically intense, actually, that Pieter and Guilherme can only perform the piece, at the most, two consecutive days in a row.