Journal articles: 'Arts, canada'

1

Decottignies, Michele. "Disability Arts and Equity in Canada." Canadian Theatre Review 165 (January 2016): 43–47. http://dx.doi.org/10.3138/ctr.165.009.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Chandler, Eliza. "Introduction: Cripping the Arts in Canada." Canadian Journal of Disability Studies 8, no. 1 (February 21, 2019): 1–14. http://dx.doi.org/10.15353/cjds.v8i1.468.

Full text

Abstract:

Disability arts are political. Disability arts are vital to the disabled people’s movement for how they imagine and perpetuate both new understandings of disability, Deafhood, and madness/Mad-identity and create new worldly arrangements that can hold, centre, and even desire such understandings. Critically led by disabled, mad, and Deaf people, disability art is a burgeoning artistic practice in Canada that takes the experience of disability as a creative entry point.

APA, Harvard, Vancouver, ISO, and other styles

3

Nelson, Greg, and Margaret Gail Osachoff. "Spirit Wrestler: An Historical Drama." Canadian Theatre Review 97 (December 1998): 94–95. http://dx.doi.org/10.3138/ctr.97.019.

Full text

Abstract:

Greg Nelson’s Spirit Wrestler was first performed by 25th Street Theatre in November 1995 as a slightly late commemoration of the centenary of the Burning of Arms by Doukhobors in southern Russia on 29 June 1895. The revival of this play by the Rosthern Station Arts Centre, from 11 July to 2 August 1998, came a little early to mark the hundredth anniversary of the arrival in Canada of the first shipload of 2000 Doukhobors in Halifax, on 24 January 1899, and their subsequent journey to western Canada. Opening night of the Rosthern production served to launch Coteau Books’ publication of Nelson’s script.

APA, Harvard, Vancouver, ISO, and other styles

4

Johnston, Kirsty. "Building Communities: Disability Arts Festivals in Canada." Canadian Theatre Review 122 (March 2005): 50–54. http://dx.doi.org/10.3138/ctr.122.012.

Full text

Abstract:

Disability arts festivals showcase and celebrate the voices of a distinct and talented community of artists. Several such festivals have been held in Canada since 2001, and theatre has played a prominent role in each. Together, the festivals have built connections with, and contributed to, a growing international disability arts culture. The term “disability arts” is drawn from the work of several artists, artistic facilitators and leaders in the movement. They use it to describe and connect art work created by people who determine a strong link between disability experience and their art. Many are careful to explain that such work is not the mere by-product of art therapy. Rather, it is intentional artistic work. Disability arts festivals provide a forum for community building by allowing artists who work in different locations and operate in different artistic media to connect their works around the concept of disability. Although the range of ways in which artists interpret, involve and experience disability and disability arts is vast, festivals create venues in which artists and audiences can express and connect their ideas. In short, they organize time and space in which communities can form and gather momentum.

APA, Harvard, Vancouver, ISO, and other styles

5

Sabourin, Hélène. "P.-J.-O. Chauveau et les débuts de la chambre des arts et manufactures du Bas-Canada 1857-1872." Scientia Canadensis 16, no. 2 (July 8, 2009): 128–53. http://dx.doi.org/10.7202/800351ar.

Full text

Abstract:

RÉSUMÉ Au milieu du XIXe siècle, le champ de l’éducation et de la formation ouvrières était laissé à l’initiative privée. L’État, pressé d’intervenir, crée en 1857 deux Chambres des arts et manufactures, The Board of Arts et Manufactures for Upper Canada et la Chambre des arts et manufactures du Bas-Canada. Jumelles, les deux Chambres ont pour mandat de sensibiliser la population aux nouvelles techniques, aux arts et aux sciences appliquées à l’industrie et, plus spécifiquement, de voir à la formation d’ouvriers qualifiés. Méconnues, les quinze premières années de la Chambre des arts et manufactures du Bas-Canada sont ici examinées dans leur contexte d’origine.

APA, Harvard, Vancouver, ISO, and other styles

6

Hubert, Erell. "Arts from Latin America at the Montreal Museum of Fine Arts." Latin American and Latinx Visual Culture 4, no. 1 (January 1, 2022): 93–100. http://dx.doi.org/10.1525/lavc.2022.4.1.93.

Full text

Abstract:

This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.

APA, Harvard, Vancouver, ISO, and other styles

7

Chandler, Eliza. "Reflections on Cripping the Arts in Canada." Art Journal 76, no. 3-4 (October 2, 2017): 56–59. http://dx.doi.org/10.1080/00043249.2017.1418484.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Webb, Duncan M. "Arts Funding in Canada: Crisis and Challenge." Journal of Arts Management and Law 19, no. 3 (September 1989): 89–108. http://dx.doi.org/10.1080/07335113.1989.9942204.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Baker, Sarita, and Ching-Chiu Lin. "Spreadable Action: Mapping Connections between the Arts and Action Research through an Arts-Based Research Exhibition." Canadian Journal of Action Research 22, no. 3 (October 18, 2022): 9–31. http://dx.doi.org/10.33524/cjar.v22i3.584.

Full text

Abstract:

Many Canadian immigrant seniors living independently in Canada face unique challenges such as language barriers, adjusting to a new culture, and isolation from friends and family. Within the context of the COVID-19 pandemic these issues have become more complicated. This article explores a form of arts-based research (ABR) as an inquiry into ways that COVID-19 has impacted immigrant seniors in Vancouver, Canada. We situate our inquiry within action research (AR) and explore new methodological possibilities stimulated by merging artistic engagement within the inquiry. Our research is mobilized through two gallery exhibitions of Letters to COVID: an invitation to visually reflect on seniors’ experiences. We consider what we might do to facilitate support for these citizens, inviting the public to rethink perceptions and strategies of social inclusion and support for immigrant seniors living independently in Canada.

APA, Harvard, Vancouver, ISO, and other styles

10

Harrison, Joan. "Book Review: Perspectives on Arts Education Research in Canada, Volume 1: Surveying the Landscape." Journal of the Canadian Association for Curriculum Studies 20, no. 2-3 (December 31, 2023): 160–65. http://dx.doi.org/10.25071/1916-4467.40734.

Full text

Abstract:

Canadian arts educators recognize the dominance of American texts and curriculum standards in both teacher education programs and in public classroom settings. In Perspectives on Arts Education Research in Canada, Volume 1: Surveying the Landscape, the late Bernard W. Andrews (1950-2023) showcases curriculum ideas that consider the uniqueness of the Canadian experience in arts education and arts-based research. This and the subsequent volume are an important contribution to arts education research and curricula, in Canada and around the world.

APA, Harvard, Vancouver, ISO, and other styles

11

Yoon, Jean. "Chinese Theatre in Canada: The Bigger Picture." Canadian Theatre Review 110 (March 2002): 5–11. http://dx.doi.org/10.3138/ctr.110.001.

Full text

Abstract:

Gee, you know . . . I’m not Chinese. I’m Korean. And while I speak Mandarin, have performed in Chinese Canadian plays, billeted Chinese Canadian playwrights, and know my way around the dim sum cart as well as or maybe even better than the guest editor of this issue, I am, last I checked, still not Chinese. Yes, I maintain a passionate interest in the advancement of Chinese Canadian arts, but as a Korean Canadian artist, I situate myself within an Asian Canadian arts scene – one that is fluid, vibrant and inclusive.

APA, Harvard, Vancouver, ISO, and other styles

12

Brégent-Heald, Dominique. "“Come to Canada”: Wartime Tourism Promotion and the Amateur Film Movement." Canadian Journal of Film Studies 31, no. 1 (April 1, 2022): 23–48. http://dx.doi.org/10.3138/cjfs-2021-0008.

Full text

Abstract:

Le présent article, qui s’appuie sur des documents d’archives et des périodiques spécialisés tels que Movie Makers et American Cinematographer, examine les liens entre la promotion gouvernementale du tourisme au Canada et le monde du cinéma amateur pendant la Seconde Guerre mondiale. Malgré les pénuries et les mesures de rationnement ayant limité les voyages et déplacements à des fins récréatives de part et d’autre de la frontière canado-américaine, l’idée selon laquelle les campagnes de tourisme au Canada avaient cessé au cours de cette période est erronée. Les dollars des touristes américains étaient nécessaires pour soutenir l’effort de guerre, tandis que la réalisation de films personnels renforçait le discours entourant le bon voisinage et la coopération en temps de guerre. En particulier, l’Office national du film du Canada (ONF) adopta des approches novatrices et rentables pour appuyer le tourisme par l’entremise du cinéma en encourageant la réalisation de films de voyage personnels, comme en témoignent le concours Come to Canada de 1942 et le soutien à la carrière du couple de cinéastes Budge et Judith Crawley.

APA, Harvard, Vancouver, ISO, and other styles

13

Shchukina, Tatiana. "Cultural Diplomacy in Canadian Foreign Policy." Russia and America in the 21st Century, no. 2 (2021): 0. http://dx.doi.org/10.18254/s207054760015924-3.

Full text

Abstract:

In furthering its foreign policy, Canada, as other countries, uses its reputation, advantage and assets to enhance its national interest, and to strengthen its state-to-state, regional and international relations. Comprising a range of instruments, a country's culture and arts stand out as having the unique potential to enrich its foreign policy. Culture and arts have long played a role in Canada's international relations. Government of Canada should develop and implement a comprehensive cultural diplomacy strategy that establish its objectives within the context of Canada's foreign policy, articulate roles and responsibilities, and identify the budgetary resources necessary for the strategy's realization.

APA, Harvard, Vancouver, ISO, and other styles

14

Horrall, Andrew. "Rockefeller, Carnegie and Canada: American Philanthropy and the Arts and Letters in Canada (review)." Canadian Historical Review 87, no. 4 (2006): 685–87. http://dx.doi.org/10.1353/can.2007.0009.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Campbell, Claire Elizabeth. "Rockefeller, Carnegie, and Canada: American Philanthropy and the Arts and Letters in Canada (review)." University of Toronto Quarterly 76, no. 1 (2007): 494–96. http://dx.doi.org/10.1353/utq.2007.0029.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Laycock, John. "Gzowski = Canada." Continuum 6, no. 1 (January 1992): 69–74. http://dx.doi.org/10.1080/10304319209359382.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Shchukina, Tatiana. "New Directions for Canadian Cultural Policy." Russia and America in the 21st Century, no. 6 (2023): 0. http://dx.doi.org/10.18254/s207054760029621-0.

Full text

Abstract:

Over the last two years of the pandemic, the arts, culture and heritage sectors have experienced unique challenges. These sectors have been amongst those hit hardest and longest by the COVID-19 pandemic. This has not only affected their economic viability but also their relationship with the public, whose interests, expectations, access and behaviours have shifted dramatically over the last two years. The pandemic accelerated a shift already underway in Canadian society. Polarization, disinformation, an unequal set of rules for the foreign online broadcasters and social media companies challenge social cohesion in Canada. This reality, combined with growing awareness of systemic racism and a greater acceptance of the need to confront the climate crisis have created a need to reimagine policies, principles, and practices to ensure continued long-term, sustainable growth, competitiveness, and vitality of the arts, culture, and heritage sectors in Canada. Canada’s arts, culture and heritage sectors play a fundamental role in building a stronger, more cohesive and resilient society. These sectors are not only significant economic drivers but they also contribute to Canada’s identity and social fabric. They help Canadians create meaning and forge a stronger shared identity based on shared values. However, to achieve these beneficial effects, there needs to be a renewed and shared understanding of these sectors’ fundamental roles and value. The Government of Canada convened the National Culture Summit: The Future of Arts, Culture and Heritage in Canada to help these sectors recover and thrive as well as mobilized these sectors around positive economic and social outcomes for Canada and discussed ways to support their own recovery and long-term growth and competitiveness. The Summit brought together leaders from across the country from these sectors for a national conversation on resilience, sustainability and transformation of the arts, culture and heritage sectors in Canada. The summit’s four themes were: •Promoting long-term competitiveness and growth; •The return of visitors and engaging new audiences; •The role of digital platforms in arts, culture and heritage sectors; and •The contribution of cultural sectors to reconciliation, combatting climate change and building an open and more inclusive society.

APA, Harvard, Vancouver, ISO, and other styles

18

Graham, Catherine. "Views & Reviews." Canadian Theatre Review 108 (October 2001): 80. http://dx.doi.org/10.3138/ctr.108.012.

Full text

Abstract:

According to Prime Minister Jean Chretien, arts groups in Canada are about to see the “biggest new investment in the arts in Canada that any government has made since the creation of the Canada Council more than forty years ago” (Address). “Views and Reviews” features a commentary on this May announcement by Maria DiCenzo, who has written in numerous places over the last few years about the influence of policy decisions by both governments and non-profit boards on the development of alternative forms of theatre. While DiCenzo is not in a position to speculate on the actual outcomes of this new spending, since regulations and concrete numbers will only become available around the time you are reading this issue of CTR, she does point to the potential long-term political implications of this change in the federal government’s discourse about the arts. Will it be a one-time media event, or a real change of direction in arts funding? As DiCenzo notes, only time will tell, but, as we go to press, the signs of a renewed interest in the creative work of a range of Canadian artists are positive.

APA, Harvard, Vancouver, ISO, and other styles

19

Knowles, Ric. "Theatre / Research / Canada." Theatre Research in Canada 35, no. 2 (May 16, 2014): 226–29. http://dx.doi.org/10.3138/tric.35.2.226.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Wilson, Ann. "Shakespeare in Canada." Canadian Theatre Review 54 (March 1988): 3. http://dx.doi.org/10.3138/ctr.54.fm.

Full text

Abstract:

Lois Burdett and Helen Edmonds teach grades 2 and 3 in Stratford, Ontario. The curriculum requires that students in those grades be introduced to their community. Burdett and Edmonds realized that in Stratford where a festival of Shakespearean plays is mounted annually, where streets are named after characters in those plays, where the schools where they teach are called “Hamlet” and “Avon,” an introduction to the community is necessarily an introduction to Shakespeare. Accordingly, the teachers asked their students to research the life and times of Shakespeare. So surprised were they at the children’s interest in the playwright and his work that they decided to expand the unit. Their account of this project, “Shakespeare and the grade 2 and 3 student,” appeared in the Federation of Women Teachers’ Associations of Ontario Newsletter (April/ May 1987).

APA, Harvard, Vancouver, ISO, and other styles

21

Wall-Andrews, Charlie, Rochelle Wijesingha, Wendy Cukier, and Owais Lightwala. "The state of diversity among leadership roles within Canada's largest arts and cultural institutions." Equality, Diversity and Inclusion: An International Journal 41, no. 9 (August 12, 2022): 30–46. http://dx.doi.org/10.1108/edi-02-2021-0054.

Full text

Abstract:

PurposeThis paper aims to answer the following research questions: Does the Canadian Arts Summit's membership (i.e. Canada’s largest cultural institutions) reflect Canada's diversity? What is the state of diversity among leadership roles within Canada's largest cultural institutions when viewed through a geographical, gender and racial diversity, and intersectional lens?Design/methodology/approachEmploying a geographic, gender, racial diversity and intersectional lens, the authors investigated the largest and most influential arts and cultural organizations in Canada (n = 125) to examine their leadership diversity. The authors found that there is a disconnect between the diversity of Canada and the leadership representation among the largest arts organizations. The authors rationalize the management implications of a lack of diversity leading Canada's cultural sector.FindingsThe leadership of major arts organizations in Canada does not reflect the diversity of Canada's population. For example, among 125 Canadian Arts Summit organizations, only 5.7% of CEOs are racialized compared to 94.3% who are White. The findings show similar results for lack of diversity in the Artistic Director and Chair of the Board roles.Originality/valueThere is limited research using this methodology to investigate leadership diversity, especially in the arts and culture sector. This research can create a benchmark for the sector to improve the status quo. The value of this research aims to encourage policy actors and arts leaders to address diversity and inclusion within their organizations and the communities they aim to serve. This research provides the foundation for future studies exploring leadership diversity and representation in the Canadian arts sector.

APA, Harvard, Vancouver, ISO, and other styles

22

Kovacs, Jason F. "Cultural planning in Ontario, Canada: arts policy or more?" International Journal of Cultural Policy 17, no. 3 (June 2011): 321–40. http://dx.doi.org/10.1080/10286632.2010.487152.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Matzig, Catherine. "Toronto Playwrights Union of Canada and Playwrights Canada Press: A Profile." Canadian Theatre Review 98 (March 1999): 17–19. http://dx.doi.org/10.3138/ctr.98.005.

Full text

Abstract:

In the late 1960s, Canada’s regional theatres – those established by the federal government to celebrate the 1967 Centennial – had a general reputation for offering few opportunities for Canadian work to appear. Artistic directors of these houses tended to be primarily European-born – Christopher Newton at Theatre Calgary and Heiner Piller at Neptune Theatre, for example – and were inclined to produce remounted Broadway hits and musicals or popular foreign-stage classics. Theatre companies like Edmonton’s Citadel Theatre, Winnipeg’s Manitoba Theatre Centre and Nova Scotia’s Neptune Theatre were ostensibly created to present Canadian theatre, but the repertories broadened and playbills often told a different story, listing productions by Shaw, Miller, Wilde, Chekhov and Shakespeare with the rare Canadian play. As a result, there was virtually no space on our regional stages for new Canadian works and little interest on the part of Artistic Directors to actively search out and develop this genre.

APA, Harvard, Vancouver, ISO, and other styles

24

Salter, D. "Staging Canada." Theater 34, no. 3 (January 1, 2004): 146–52. http://dx.doi.org/10.1215/01610775-34-3-146.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Knowles, Ric. "Introduction: Performing Intercultural Canada." Theatre Research in Canada 30, no. 1_2 (January 2009): v—xii. http://dx.doi.org/10.3138/tric.30.1_2.v.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Gibson, Annie. ""Theatre Research in Canada"." Theatre Research in Canada 35, no. 2 (May 16, 2014): 247–49. http://dx.doi.org/10.3138/tric.35.2.247.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Tembeck, Iro Valaskakis, Selma Odom, and Norma Sue Fisher-Stitt. "Dance Research in Canada." Dance Research Journal 29, no. 1 (1997): 107. http://dx.doi.org/10.2307/1478249.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Bird, Frederick, and Frances Westley. "Climate Report from Canada." Performance Research 23, no. 3 (April 3, 2018): 91. http://dx.doi.org/10.1080/13528165.2018.1495952.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Brydon, Diana, Irena R. Makaryk, and Catherine Graham. "Seeing Canada through Shakespeare." Canadian Theatre Review 111 (June 2002): 103–6. http://dx.doi.org/10.3138/ctr.111.019.

Full text

Abstract:

Diana Brydon and Irena Makaryk’s Shakespeare in Canada is a book that anyone interested in Canadian theatre will surely want to own, whether they are interested in Shakespeare or not. This text, which CTR has reviewed in manuscript form, is not only a magisterial history of Shakespeare production in Canada, but a very engaging discussion of the history of Canadian theatre institutions and audiences in their evolution from eighteenth-century garrison entertainments to contemporary questionings of cultural colonialism and institutional policies.

APA, Harvard, Vancouver, ISO, and other styles

30

Hernandez, Catherine. "Beijing Opera in Canada." Canadian Theatre Review 110 (March 2002): 41–43. http://dx.doi.org/10.3138/ctr.110.011.

Full text

Abstract:

When I started my research on Beijing Opera and its survival in Canada, I thought I was going to write its obituary; I thought I’d stumble upon a dying relative and in turn have to carve out its epitaph. But what I found was that it was in fact alive and well here in the new world with its fibres interwoven proudly into our nation’s diversity.

APA, Harvard, Vancouver, ISO, and other styles

31

Sher, Emil. "Canada Apartheid on Tour." Canadian Theatre Review 50 (March 1987): 59–62. http://dx.doi.org/10.3138/ctr.50.008.

Full text

Abstract:

Beneath Thami Cele’s right eye there is a scar that blends into his weathered face like a natural crease. Only when you see him face-to-face do you notice it. On a stark stage that for 90 minutes is a South African jail, it would be very difficult for anyone in the audience to see the scar beyond the imaginary prison walls. Cele’s infectious gap-toothed smile spreads as far back as the last row. But in the darkened theatre, only his four other cell-mates who sweat under the same bright lights and share their stories can see the scar.

APA, Harvard, Vancouver, ISO, and other styles

32

Abel, Douglas, and R. H. Thomson. "Drawing Strength from Within." Canadian Theatre Review 62 (March 1990): 42–49. http://dx.doi.org/10.3138/ctr.62.007.

Full text

Abstract:

Since his return to Canada from studies in England in 1973, R. H. Thomson has advanced steadily from being a rising young star to one of Canada’s most praised and respected actors. He has performed on the stage, on television and in film. Despite having success here, in the United States, and in England, his career choices demonstrate a fiercely passionate commitment to the development of the performing arts in Canada.

APA, Harvard, Vancouver, ISO, and other styles

33

Rewa, Natalie. "Transformations: Mediating the Arts Through Theatre." Canadian Theatre Review 64 (September 1990): 3. http://dx.doi.org/10.3138/ctr.64.fm.

Full text

Abstract:

This issue is conceived as an exploration of “translation” in Canadian theatre, with the understanding that this encompasses more than simply linguistic activity. So we use the term “transformations” to indicate a whole range of mediations between theatre and other arts. Perhaps it has never been more important than at the present time to recognize different kinds of theatrical (and non-theatrical) processes by which the cultures of Canada continually translate themselves in this broad sense.

APA, Harvard, Vancouver, ISO, and other styles

34

Puddephatt, Lee, and Kathryn Harvey. "Black Theatre Canada and Native Earth Performing Arts: A Slideshow." Canadian Theatre Review 156 (October 2013): s1—s20. http://dx.doi.org/10.3138/ctr.156.001b.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Hanley, Betty. "Policy Issues in Arts Assessment in Canada: “Let's Get Real”." Arts Education Policy Review 105, no. 1 (September 2003): 33–38. http://dx.doi.org/10.1080/10632910309600750.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Bresler, Liora. "Introduction to the Symposium on Arts Education Policy in Canada." Arts Education Policy Review 97, no. 6 (August 1996): 13–14. http://dx.doi.org/10.1080/10632913.1996.9935079.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Jody Berland. "The Politics of the Exasperated: Arts and Culture in Canada." ESC: English Studies in Canada 33, no. 3 (2009): 24–30. http://dx.doi.org/10.1353/esc.0.0061.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Rodriguez, Paxton. "Decolonizing the Canada Council for the Arts: A Historical Perspective." Canadian Theatre Review 192 (November 1, 2022): 29–31. http://dx.doi.org/10.3138/ctr.192.007.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Beauchamp, Hélène. "Theatre of Commitment in Francophone Canada." Canadian Theatre Review 108 (October 2001): 83–85. http://dx.doi.org/10.3138/ctr.108.014.

Full text

Abstract:

It is not a new festival, but it has changed its name from the rather descriptive “Les 15 jours de la dramaturgie des régions” (reviewed in CTR 102) to the more catchy “Festival du Théâtre des Régions” (FTR). Founded by the Association des Théâtres francophones du Canada (ATFC) and the Théâtre français of the National Arts Centre (NAC), the Festival exists to bring together those professional companies and artists who write, create and produce theatre in French from Vancouver to Moncton and Caraquet. The Festival provides a showcase for selected productions, as well as precious time for discussions between companies and artists on co-producing and touring and official meetings with groups like the Canada Council, the National Theatre School and the Centre des auteurs dramatiques. In addition, Ontario’s Théâtre Action (TA), the West’s Association des Théâtres francophones de l’Ouest (ACTO) and the Association des Théâtres francophones du Canada hold their general meetings and elect their officers at the Festival; this year Guy Mignault of the Théâtre français de Toronto was elected president of ATFC for a two-year mandate.

APA, Harvard, Vancouver, ISO, and other styles

40

Rewa, Natalie. "Actor Training." Canadian Theatre Review 78 (March 1994): 3. http://dx.doi.org/10.3138/ctr.78.fm.

Full text

Abstract:

Though Canadian actors, designers, playwrights and technicians are articulate about the programs that they have experienced, the discussion of theatre training by those who offer it is sporadic. The most comprehensive account of the theory and practice of theatre education in Canada is the 164-page Report of the Committee of Inquiry into Theatre Training in Canada which was commissioned by the Canada Council and its Advisory Arts Panel and published in 1978. A major implication of the study was that theatre training had to be more closely allied with practice if it was to be more effective. What would a similar study of theatre training – supposing that any agency were interested in funding it – discover today?

APA, Harvard, Vancouver, ISO, and other styles

41

McLeod, Kimberley. "When Canada Goes Viral: The Canada Party and the Circulation of Political Satire." Canadian Theatre Review 166 (April 2016): 28–33. http://dx.doi.org/10.3138/ctr.166.005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Weil, Herbert S. "Stratford Festival Canada." Shakespeare Quarterly 37, no. 2 (1986): 245. http://dx.doi.org/10.2307/2869966.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Berry, Ralph. "Stratford Festival Canada." Shakespeare Quarterly 36, no. 1 (1985): 87. http://dx.doi.org/10.2307/2870087.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Hood, Sarah. "No Place to Go … Black Theatre in Canada." Canadian Theatre Review 56 (September 1988): 23–24. http://dx.doi.org/10.3138/ctr.56.006.

Full text

Abstract:

“There is no Negro Ensemble in Canada. There is no Black Theatre in Canada, there is no Free Southern Theatre in Canada. There is no Black theatre that has the financing, a permanent place, and an audience in Canada.” This statement by Toronto actress Sandi Ross points to the fact that there is no fully professional theatre company dedicated to producing Black Theatre.

APA, Harvard, Vancouver, ISO, and other styles

45

Fedunkiw, Marianne. "Rockefeller, Carnegie, & Canada: American Philanthropy and the Arts and Letters in Canada By Jeffrey D. Brison." Ontario History 99, no. 1 (2007): 130. http://dx.doi.org/10.7202/1065809ar.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Deckha, Maneesha. "Situating Canada’s Commercial Surrogacy Ban in a Transnational Context: A Postcolonial Feminist Call for Legalization and Public Funding." McGill Law Journal 61, no. 1 (March 2, 2016): 31–86. http://dx.doi.org/10.7202/1035385ar.

Full text

Abstract:

In large part due to feminist interventions in the early 1990s about the dangers of assisted reproductive technologies (ARTs) for women, Canada banned several practices related to ARTs when it enacted the Assisted Human Reproduction Act (AHRA) in 2004. Notably, the AHRA prohibited commercial surrogacy. Feminists feared that a market in surrogacy would exploit and objectify marginalized Canadian women who would be pressured into renting out their wombs to bear children for privileged couples. Since the early feminist deliberations that led to the ban, surrogacy has globalized. Canadians and other citizens of the Global North routinely travel to the Global South to source gestational surrogates. In doing so, they partake in an industry that heavily depends on material disparities and discursive ideologies of gender, class, and race. Indeed, the transnational nature of surrogacy treatment substantially reshapes the earlier feminist commodification debates informing the AHRA that took the domestic sphere as the presumed terrain of contestation. Due to the transnational North-South nature of surrogacy, a postcolonial feminist perspective should guide feminist input on whether to allow commercial surrogacy in Canada. I argue that when this framework is applied to the issue, the resulting analysis favours legalization of commercial surrogacy in Canada as well as public funding for domestic surrogacy services and ancillary ARTs.

APA, Harvard, Vancouver, ISO, and other styles

47

Meerzon, Yana. "Multiculturalism, (Im)Migration, Theatre: The National Arts Centre, Ottawa, a Case of Staging Canadian Nationalism." Journal of Contemporary Drama in English 6, no. 1 (April 27, 2018): 113–30. http://dx.doi.org/10.1515/jcde-2018-0015.

Full text

Abstract:

AbstractOn October 22, 2015, two days after the Liberal Party of Canada came to power, The Globe and Mail published an editorial entitled “Canada to the World: Xenophobia Doesn’t Play Here.” The article suggested that, in these times of migration crises, a rising xenophobic discourse and neo-nationalism, it is essential for the European countries to start taking lessons in navigating cultural diversity from Canada, the first country in the world that institutionalized principles of multiculturalism. This view is clearly reflected in the repertoire politics of Canadian theatre institutions, specifically the National Arts Centre (NAC) Ottawa, the only theatre company in Canada directly subsidized by its government. Mandated to support artistic excellence through arts, the NAC acts as a pulpit of official ideology. It presents diversity on stage as the leading Canadian value, and thus fulfills its symbolic function to serve as a mirror to its nation.However, this paper argues that, by offering an image of Canada, constructed by our government and tourist agencies, as an idyllic place to negotiate our similarities and differences, the NAC fosters what Loren Kruger calls a theatrical nationhood (4–16). A closer look at the 2014 NAC English theatre co-production of Kim’s Convenience will help illustrate how the politics of mimicry can become a leading device in the aesthetics of national mimesis – a cultural activity of “representing the nation as well as the result of it (an image of the nation)” (Hurley 24); and how the artistry of a multicultural kitchen-sink can turn a subject of diversity into that of affirmation and sentimentalism.

APA, Harvard, Vancouver, ISO, and other styles

48

Rubin, Don. "Canada On Stage: 1982-1986." Theatre Research in Canada 12, no. 2 (September 1991): 222–25. http://dx.doi.org/10.3138/tric.12.2.222.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Rubin, Don. "Canada On Stage: 1982-1986." Theatre Research in Canada 12, no. 2 (September 1991): 222–25. http://dx.doi.org/10.3138/tric.12.2.222.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Rave, Katalie. "Canada on the Pacific Rim." Canadian Theatre Review 85 (December 1995): 3. http://dx.doi.org/10.3138/ctr.85.fm.

Full text

Abstract:

This issue of CTR takes up the discussion of theatrical activity from a geo-cultural premise–that of the Pacific Rim. The aim is to probe the intercultural exchanges between artists who work in Canada with their counterparts elsewhere on the Rim, to discover how, and how extensively, cultural differentiation by geography has been qualified, in terms of theatre, by the contemporary revolutions in communications . Air travel, film, video, phone, fax and other technologies of the post-postal era have enabled us to see more of each other, while international theatre festivals have provided sometimes revealing glimpses of different and overlapping cultures of performance.

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Arts, canada'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles