Interdisciplinary Dramaturgy Lab with Studio 303

SCHEDULE

Dates: April 17th-21st, 2023 (5-days)
Time: 9:30 AM – 12:30 PM each day at Studio 303

FEE

As this Lab is primarily offered by Studio 303 as part of their workshop series, there is an associated fee of $85. Those selected for participation will be required to complete the Studio 303 registration form and pay at that time. Please be in touch if the fee presents a major barrier to applying.

Kathy Casey

Artistic Director of Montréal Danse since 1996, Kathy Casey works as a dramaturge with choreographers who are rethinking and redefining what is dance. Through a process of deep questioning of performance and the body, she encourages bold ideas and discovering ways to express them and give them form. She also organizes and facilitates an annual choreographic research workshop, runs research labs and facilitates or co-facilitates dance and interdisciplinary dramaturgy workshops. In addition to her responsibilities with Montréal Danse, Kathy Casey works as an artistic advisor for several independent choreographers in Montreal.

Dana Dugan

Dana Dugan is a Montreal based artist-scholar, mother, performer, teacher, and dramaturg. She was a founding member of the Chicago Contemporary Circus Festival (Chicago, 2014-15) and CirqueOFF (Montreal, 2017). Currently, she is a member of Le PARC (Performance Arts Research Cluster) at the Milieux Institute for Arts, Culture and Technology (Montreal); works as research assistant for the Dramaturgical Ecologies Research Collective (Montreal); Diasporic Dramaturgies Working Group (Montreal); and serves on the editorial board for TURBA: The Journal of Global Practices in Live Arts Curation (Montreal). Dana completed her master’s degree at Concordia University (Montreal, 2018) under fellowship as a practice-based researcher investigating her circus body as a site for cultivating critical dialogues through the concept and practice of (dis)obedience. She continues her embodied research on (dis)obedience as a doctoral candidate in the Humanities Interdisciplinary Program at Concordia University (Montreal), using the body as an interface with Performance Studies and Black Studies toward an ontogenerative disruptive, transformative and affirmative politic.

*** To honor the complexity and tensions inherent in the work and in our different racial positionings in the current socio-political climate, I take inventory and acknowledge my positionality. My body is not neutral and I reject the centrality of Whiteness. To do this, I must first locate my whiteness and acknowledge its inherent centeredness. As Dana, situated in this moment with my own embodied dramaturgy, I move though the world as a white, artist, lover, mother (fuck the rest!) toward queering Whiteness – to uncrown Whiteness and resist its re/production. 

Fatma Sarah Elkashef

Sarah is a theatre maker, primarily a dramaturg, and the Artistic Director of Playwrights’ Workshop Montréal (PWM). Prior to this Sarah worked as a freelance dramaturg in Montreal and has been a part of the evolution of numerous plays and performances. Born and raised in the U.K. to Egyptian and Dutch parents, she has been based in Tiohtià:ke (Montreal) since 2010. Prior to settling in Canada, Sarah became the Senior Reader at Soho Theatre in London, U.K. after having lived and worked in New York City for more than a decade. Curious about  the creation and development process across performance disciplines, Sarah began the Interdisciplinary Writers’ Lab at PWM to explore ways of working not centered around text. At the National Theatre School of Canada she has worked as a dramaturg, teacher, and creator across programs since 2012. In 2016 she was a recipient of the Literary Managers and Dramaturgs of the Americas’ (LMDA) Bly Creative Fellowship Grant for artists who are creating new approaches to dramaturgy. In 2018 she co-created and co-directed a circus show for families, Eat Sweet Feet with Krin Haglund and The Radiant (TOHU). In March 2021 Sarah co-directed (with Sylvia Cloutier) an audio play Lâche pas la patate by Yvette Nolan for Imago Theatre. Sarah’s artistic preoccupations are rooted in her hybrid identity and practice, and she is excited by the possible futures for collaboration and process sharing across performance disciplines.