APPLY NOW: Re:Shaping Borders with Naïma Kristel Phillips

A devised creation workshop

Dates: February 29th & March 1st, 2020 (2-day workshops)
Time: 10 AM – 5 PM Both days
Location:  PWM (7250 Clark, Suite 103)
Fee: $42 (please contact us if this fee would be an obstacle to your participation)

What borders do you encounter, challenge, confront, travel through or around in your artistic practice? Are these concrete, imagined, welcome or imposed?

These questions will serve as the basis for the latest workshop in our Exploring Practice Series. Led by Naïma Kristel Phillips, Re:Shaping Borders invites participants to take part in a devised creation process built around the theme of borders.

Devised theatre, also known as collective creation, is a theatre-making practice in which an ensemble of performers (often actors or dancers) ”write” a piece collaboratively. This workshop is designed to give artists a hands-on introduction to this way of working. The group will be made up of roughly 8 artists with a variety of artistic backgrounds and experiences.

Application Instructions: To apply, please send us your artistic CV/bio and a brief (1-2 paragraph) statement explaining why this workshop interests you, how it is relevant to your artistic practice and what your expectations are for this workshop.

Please send your application and any questions to:  harris@playwrights.ca using the subject line: Exploring Practice with Naima Kristel Phillips


Application deadline:  February 5, 2020 at 11:59 PM

About the Workshop Leader:

Naïma Kristel Phillips is a playwright, librettist, and stage director committed to finding innovative ways to portray human existence. Her interdisciplinary works have been presented across Canada, France, and the United States. As a performer, Naïma practised extended vocal techniques and choreographic theatre at the Roy Hart International Centre and Pantheatre with co-founders and directors Enrique Pardo, Linda Wise, and Elizabeth Mayer. Her interdisciplinary approach is also inspired by studies with playwright Charles L. Mee and director Anne Bogart as well as mentorship from choreographer Sidi Larbi Cherkaoui. 

Naïma is currently writing the libretto for an opera with composer Margareta Jeric. She is also directing and co-creating High Z, an immersive performance exploring the 2011 Nobel Prize-winning discovery of the accelerating universe. As a concept writer, she collaborated with scenographer Julie Vallée-Léger and GSM Project on the critically-acclaimed “Life of Sally Hemings” exhibit at Monticello. 

Her playwriting credits include Le bon gars d’à côté (Festival Jamais Lu) Suite d’une ville morte (Tapestry Opera and Canadian Opera Company) Birthday Triage (Horace Mann Theater), My Artichoke Heart (Dream Up Festival), and Night Spell (Nextfest). A recipient of the Mécénat Musica Prix 3 Femmes, the Gloria Mitchell-Aleong Award, and the Shubert Presidential Fellowship, Naïma was in the 2014-2016 Interdisciplinary Unit at Playwrights’ Workshop Montréal. She holds an MFA in Playwriting from Columbia University.

This workshop is financially supported by

Emploi-Québec and Compétence Culture Logos

Apply Now: Interdisciplinary Dramaturgy Lab

Dates: January 27th-31st, 2020 (5-days)
Time: 9:30 AM – 12:30 PM Each day
Location:  Studio 303, 372 Saint-Catherine St W, Montreal, Quebec H3B 1A2
Fee: $60 (please contact us if this fee would be an obstacle to your participation)

PWM and Studio 303 invite dramaturges, theatre artists, dancers, circus performers and interdisciplinary artists the second edition of the Interdisciplinary Dramaturgy Lab. Led by Kathy Casey (dance), Dana Dugan (circus) and Fatma Sarah Elkashef (theatre), the lab is a space for artists working across various disciplines to exchange their dramaturgical tools, challenges and experiences.

Application Instructions: To apply, please send us your artistic CV/bio and a brief (1-2 paragraph) statement explaining why this training interests you, how it is relevant to your artistic practice and what your expectations are for this lab.

Please send your application and any questions to:  harris@playwrights.ca using the subject line: Interdisciplinary Dramaturgy Lab
Application deadline: January 5, 2020

About the Workshop Leaders:

Born in North Carolina, Kathy Casey began her dance career in 1979 with the Chicago Moving Company. Settled in New York in 1980, she danced for many choreographers before joining the Lar Lubovitch Dance Company in 1984. In 1989, she became a member of Susan Marshall & Company, with whom she had collaborated since 1981. From 1985-1989, she also assisted Mr. Lubovitch and Ms. Marshall in creation. Kathy Casey has danced in Europe, Asia, and North America and continues to give numerous workshops across Canada and the United States. Welcomed by Montréal Danse in 1991, she was appointed Artistic Director of the company in March 1996. A major portion of her work now is collaborating with choreographers on the dramaturgy of the works created for the company. In addition to her work with Montréal Danse, she also works as an artistic advisor with independent choreographers in the city.

Dana Dugan is an American circus artist, performer, pedagogue, and scholar based in Montreal. She was a founding member, programmer, project manager, and producer of the Chicago Contemporary Circus Festival and CirqueOFF. Dana recently completed her Master’s Degree at Concordia University under fellowship researching the circus body and its embodied knowledge. She is currently continuing her research explorations and performance of the circus body and speculative performance narratives as a PhD student at Concordia University. Dana’s work reflects an agenda that advocates for socially conscious performances and alternative, queer, feminist, political narratives that cultivate agency on the circus stage.

Fatma Sarah Elkashef is a theatre artist, primarily a dramaturg, working in new play development and interdisciplinary creation. At Playwrights’ Workshop Montréal she leads the Interdisciplinary Writer’s Lab in addition to various other projects. At the National Theatre School of Canada she often works across programs as a dramaturg, creator, and teacher and in 2016 received their Bernard Amyot Award for Teaching. Sarah recently co-created a circus show for families Eat Sweet Feet, and continues to work on High Z, an immersive performance installation for planetariums based on the 2011 Nobel prize winning discovery of the accelerating expansion of the universe. Prior to settling in Canada she was the Senior Reader at Soho Theatre in London, U.K. Sarah has also been an associate producer, company manager, literary associate and more in New York City. She is a graduate of Warwick University in English Literature and Theatre (U.K.), has an M.A. in Theatre from Hunter College (CUNY, NYC), and a Graduate Diploma in Communications from Concordia University (Montreal, Canada).

Presented in collaboration with

Studio 303 Logo

This workshop is financially supported by

Emploi-Québec and Compétence Culture Logos

Apply Now: Introduction to Theatre Translation

A one-on-one mentorship opportunity

For years Playwrights’ Workshop Montreal (PWM) and the Centre des Auteurs Dramatiques (CEAD) have worked to forge links between French and English language theatre communities and foster the art of theatre translation.  To this end, the two organizations have once again partnered together to offer an individualized mentorship meant to familiarize a playwright to the craft of theatre translation.

How the mentorship works:

  • PWM will select 1 participant with an interest in French to English theatre translation.
  • Over a period of several months, the participant will translate excerpts (roughly 10-12 pages) of two contemporary Québécois plays selected by the CEAD. 
  • Over several weeks, the participant will receive a total of 12 hours of dramaturgical support from an established translation dramaturg.
  • The participant will  have the opportunity to discuss their translations with the original playwrights.
  • The mentorship will culminate in two 4-hour workshops during which professional actors will read and discuss the newly-translated excerpts.
  • After the workshops, the participant will submit their final drafts of the translated excerpts to the CEAD.

Who can Apply?

  • Montreal-based playwrights with a strong interest in French-to-English theatre translation.
  • The candidate must have excellent writing skills in English and have fluent comprehension of Québecois French.
  • Playwrights with little to no experience in theatre translation are encouraged to apply.
  • Applicants must have a minimum of two professionally produced pieces or Fringe productions. 

Please note: If you are a member of the CEAD and are interested in applying to the English-to-French component of this project, please visit the CEAD’s website for application details. 

Application Guidelines

Send your application to documents as well as any questions you may have to Harris Frost at harris@playwrights.ca.

The deadline to apply is Friday, November 8th at noon.

Please include the following documents  in your email:

  1. Your artistic CV and/or bio.
  2. A brief cover letter outlining your interest in this mentorship and in French-to-English theatre translation more generally.

Tentative Schedule:

  • November 8th: Application deadline.
  • November 13th: Participant selected and provided with exceprts
  • November – March: Several meetings with translation mentor, translation of excerpts and meetings with playwrights.
  • Before March 6th: 2 x 4 workshops of translated excerpts
  • Before April 5th: Translated excerpts of texts submitted to CEAD.

This mentorship is presented in partnership with:

CEAD LOGO
Centre des auteurs dramatiques (CEAD)

With financial support from:

Emploi-Québec and Compétence Culture Logos
Emploi Québec and Compétence Culture


Apply Now: Writing and Devising For Puppetry With Clea Minaker

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Dates: November 5-8th, 2019 (4-day workshop)
Time: 10 AM – 3 PM Each day
Location: Maison internationale des arts de la marionnette: 30 Avenue Saint-Just, Outremont, QC
Fee: $60 (please contact us if this fee would be an obstacle to your participation)

Writing and Devising Puppetry: Interdisciplinary Approaches to Creation

Presented in collaboration with the Association Québécoise des marionnettistes (AQM)

This  four-day workshop is designed as a laboratory to explore and experiment with puppetry and the interdisciplinary creation methods it employs as unique form of scenic writing.

In puppetry, narratives unfurl as interrelated threads woven from; objects and materials, movement and presence, light, sound and/or text. As performers activate these elements: bringing them into relationship with each other, with time, and with space: a singular poetic language is formed.

This workshop asks the question, what does it mean to create and compose in a language that is both material and time based? What are visual dramaturgies? And, where do we begin when we wish to ‘write’ with images?

Throughout the workshop, participants will be invited to engage in puppetry and performance exercises, as well as to experiment with visual mediums and creative writing techniques, in the construction of performed visual narratives.

This workshop is not designed as an introduction to technical aspects of creating or manipulating puppets, but views the puppetry arts as a large family of theatrical forms wherein material and performer meet. The workshop invites participants of diverse backgrounds (performance, puppetry, design, writing, stage technique, visual arts etc…) to gain greater perspective on the unique storytelling opportunities that puppetry presents.

In addition to structured improvisations, individual and group exercises, participants will be given (some) opportunities to explore projects of personal interest within the context of the workshop.

Note: This workshop will take place primarily in English, but many of the exercises and discussions will be led in English and French in order to best accommodate all participants.

How to Apply:

Please send your CV and/or bio as well as a brief paragraph explaining why you are interested in this workshop, and your experience with puppetry, and/or interdisciplinary approaches to creation to harris@playwrights.ca using the subject line: Exploring Practice with Clea Minaker.  The deadline to apply is Thursday October 3rd, 2019 before 1pm

Biography of Clea Minaker

Clea Minaker is a puppeteer, designer, director, and interdisciplinary creator who graduated from the sixth promotion (2002-2005) at L’École Nationale Supérieure des Arts de la Marionnette in Charleville‐Mézières, France. Through her personal creations, Clea has explored an interest for shadow, light, live video projections, as well as the poetics of manipulation and corporeal gesture.

She has collaborated across artistic disciplines: in theatre, live music, opera, dance, film, and visual arts, including collaborations with Feist (The Reminder Tour 2007/2008), Atom Egoyan, So-called, Kid Koala. She has created works for: the National Arts Centre Orchestra, Convergence: an International Summit on Art and Technology at the Banff Centre, IF! Istanbul, The Museum of Contemporary Art San Diego, and Festival Casteliers. Clea premiered her first full-length solo performance The Book of Thel, at Théâtre Lachapelle, Scènes Contemporains in 2013.

Clea has taught puppetry, shadow puppetry, and interdisciplinary creation at; U.Q.A.M ‘d.e.s.s marionette contemporain’, Concordia University, National Theatre School of Canada, Playwright’s Workshop Montreal, U.B.C.O, Mcgill University. She is currently co-director of the Banff Centre Puppet Intensive offered by The Old Trout Puppet Workshop.

In 2009 Clea was awarded the Siminovitch Protégé Prize for Theatre Design by prize Laureate and puppeteer Ronnie Burkett.

This workshop is presented in collaboration with:

Association québécoise des marionnettistes

Our exploring practice series is supported by:

Emploi-Québec and Compétence Culture Logos

Apply Now: Theatre Translation Workshop with Frank Heibert

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Dates: September 23, 24 & 25 (3-day workshop)
Time: 9:30 AM – 5 PM (Including a lunch break) 
Location: PWM, 7250 Clark #103, Montréal, QC. 
Fee: $90

Presented in collaboration with Le Centre des auteurs dramatiques (CEAD), this 3-day workshop is led by prolific German theatre translator Frank Heibert. The workshop, which will include group discussions, theoretical lectures and translation exercises built around specific case studies, is aimed at emerging to mid-career theatre translators.

Guiding questions will include:

  • How do you find your characters’ voices?
  • What are similarities and differences between translation and adaptation?
  • In cases where a translation is commissioned for a specific production, should the translator’s vision take priority over the director’s vision?

The practice of working off of a word-for-word translation in collaboration with a translator fluent in the source language will also be discussed.

Participants are encouraged to bring in a translation project in progress. However, translators not currently working on a project are also encouraged to apply. The target language of these projects can be French or English, and the source language should ideally be one of the following languages: German, English, Spanish, French, Italian or Portuguese. Participants’ projects will be discussed in detail and will help to determine the topics of the workshop.

The workshop will be led in English and French, depending on the needs and fluency of the participants.

Application guidelines:

  • Send applications to harris@playwrights.ca with the subject line Exploring Practice with Frank Heibert.
  • Please attach the following three documents:
    • The translation project that you plan on discussing during the workshop: please attach roughly 10 pages of both your translation and the original script as well as a brief synopsis of the piece. (Excerpts of the translation are not mandatory, but applications containing excerpts will be prioritized.)
    • A letter of intention (1 page maximum).
    • An up-to-date CV.
  • Application deadline: 11 AM on June 28, 2019

About the Instructor:

Frank Heibert lives in Berlin and has studied literature in Germany, Italy, and France. Since 1983, he has worked as a translator of literature from English, French, Italian and Portuguese into German. From 1990-1995, he was the co-publisher of his own small publishing house Zebra Literaturverlag. He has also worked as an editor, a speaker,  a critic and a professor at Free University of Berlin. He is a member of PEN International, the worldwide writers’ association and is the winner of numerous literary awards for writing and translation.

He has translated over 95 novels and story collections by, among many others, Don DeLillo, Richard Ford, William Faulkner, Boris Vian, Alfred Jarry, Marie Darrieussecq, Yasmina Reza, and Raymond Queneau. He has also translated roughly 110 plays, by playwrights such as Tony Kushner, Neil LaBute, Nicky Silver, George F. Walker, Jonathan Garfinkel, Terrence McNally, Martin Crimp, Yasmina Reza, Italo Svevo, and Lina Wertmüller as well as Quebec playwrights Michel Marc Bouchard, Suzanne Lebeau, and Olivier Kemeid.

 

PRESENTED IN COLLABORATION WITH:

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THIS PROFESSIONAL DEVELOPMENT ACTIVITY IS MADE POSSIBLE BY:

Emploi-Québec and Compétence Culture Logos

 

4 questions with Julie Tamiko Manning on Gros Morne Playwrights’ Residency

by Harris Frost

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The 2019 Gros Morne Playwrights’ Residency in Newfoundland headed by PWM and Le Centre des Auteurs Dramatiques (CEAD) wrapped up last month. Montreal-based playwright and actor Julie Tamiko Manning was one of this year’s 7 participants.

 

PWM: How exactly were the 10 days structured?

Julie Tamiko: Most of the 10 days we pretty much had to ourselves to do whatever we wanted. Then in the evenings, we had an hour-long meeting all together with all the other playwrights. We each got the chance to either do a little reading of our what we’re working on or talk about our process during one of these meetings.

PWM: Did it feel a little strange to be with so many other playwrights while you’re working individually?

Julie Tamiko: Well, even though we weren’t in the same space all day, I think the fact that we were all there to do the same thing was kind of a uniting thing. You would ask “How’s your writing going today?” and someone would answer “Terrible!” or “It’s a good day, today!” and you would know what that meant because you’d probably gone through the exact same thing the day before.

PWM: Could you speak a little about your piece, Mizushōbai?

Julie Tamiko: It’s a commission by Tableau D’Hôte Theatre, the first play in what is to become an annual series called More Than a Footnote about Canadian figures who have been sort of lost to history, who don’t have as much written about them as other historical figures.

It’s called Mizushōbai, which literally translates from Japanese as “the water trade”, it’s a euphemistic term that means “night-time entertainment”, as in, the sex industry. It’s about the life of this woman Kiyoko Tanaka Goto who came from Japan to Canada as a picture bride in 1916, did years of manual labour, saved up her money and opened a restaurant with 3 other women where they would make and sell alcohol. Then later she bought a hotel and turned it into a brothel. In 1942, she was interned with other Japanese Canadians. After internment, I believe she pretended to be Chinese in order to go back to the West coast, because the Japanese weren’t allowed back to the coast until 1949. She opened up a few gambling clubs in Chinatown. She died in 1982.

When I started writing this play about her I was having trouble figuring out how I was going to write a biography without it being a straight biography, I didn’t want to just transcribe the oral interview I have been working from, so I started out with a lot of disjointed poetry because there’s not a whole lot of information about her. And it was kind of a struggle to figure out how to stick with the facts of her life as well as figure out the rest through me. I was surprised because I went to the residency with ten or fifteen pages and I ended up with almost a whole first draft. And I almost didn’t realize that I had written it while I was there.

PWM: During the residency, did find that your writing process was different from usual?

Julie Tamiko: It was so amazing to be able to have every day to write. I had really made sure that I cleared my schedule so that I could think about writing. I actually really surprised myself because in a day I would do anywhere between one and six hours of writing but by the end of the residency, I was surprised to see just how much I had written. I think it would have taken me about six months to do what I did in ten days at this residency.

It’s going to take a long time for me to actually finish the draft though, because I won’t have the time that I had while at the residency. I’m going to have to try to recreate that somehow.

 

Julie will perform her show The Tashme Project – co-created with Matt Miwa – at the Great Canadian Theatre Company in Ottawa as part of the 2019 Prismatic Arts Festival in September.

Photo (Top to bottom): Royds Fuentes-Imbert, Emma Tibaldo, Robert Chafe, Paul Lefebvre, Julie Tamiko Manning, and Yolanda Bonnell