Apply Now: Theatre Translation Workshop with Frank Heibert

Lire cette annonce en français

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:

CEAD LOGO

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

Lire la page en français.

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

REGISTER NOW: Grant Writing Workshop for Emerging Artists

Exploring Practice with Jesse Stong

Lire l’appel en français.

Dates: April 16, 17, 18 2019 (3-day workshop)
Time: 6 PM-10 PM (Group sessions end at 9 PM, with optional additional consultation until 10 PM)
Location: PWM
Fee: $45 (Please contact us if this fee would be a barrier to your participation)

Using innovative and interactive activities, Jesse Stong (Art Educator/Playwright) will support emerging artists to develop a strong application for their own future project grants. From seeding and exploring initial ideas to developing dynamic writing samples, and participating in group brainstorms to elaborate and articulate project outlines with realistic timelines and budgets. By the end of this hands-on sessions each participant will leave with their own completed first draft of a grant proposal, as well as many tips on finding a diversification of funding, independent fundraising strategies, and guidance on building partnerships for the future life of their proposed project.

Application guideline
  • Send a paragraph describing your interest in the workshop.
  • Please attach a bio and/or CV.
  • Send applications to jesse@playwrights.ca and harris@playwrights.ca
    with subject line: Exploring Practice with Jesse Stong
  • Application deadline:  1 PM on April 4, 2019
Topics Covered

a) General Grant Writing Tips/Cautions
b) Stress and Time Management/Infusing GRANT WRITING into your artistic practice
c) Hands-On Project Proposal Building (developing treatment, describing project)
d) Creative Activities (exploring innovative grant writing processes)
e) Expressing authentic NEED and attracting SUPPORT
f) Group Brainstorm Sessions (exploring ideas, developing proposals further in the workshop)
g) Editing and Increasing Impact (How to sharpen your grant)
h) Action planning/specific measurable steps towards grant submission
i) Ongoing Discussions/Group Sharing of Resources/Sources of Funding

Expectations
  • Participants should come to the workshop with a project/residency idea they are genuinely interested in developing a grant proposal for (the idea can be fully developed or a seed of a new project)
  • Participants should be expected to engage with the hands-on process.
  • Participants will support the ideas of others/contribute to the group discussions.
  • Participants will leave with a clear plan to continue to process forward
About the Instructor

Jesse Stong is curently completing his fourth year designing and leading PWM’s Young Creators Unit. Jesse is a graduate of Playwriting from the National Theatre School of Canada and is completing his Masters in Art Education at Concordia University. He was recently assistant curator for the National Art’s Centre Disability Summit, and in 2016 received the Michaëlle Jean Foundation award for his innovative writing/puppetry workshops for schools and youth groups. Jesse is a proud member of the board of directors at Les Muses: Centre for dance and performance training, for people living with intellectual differences, as well as a writing facilitator for the Quebec Writers Federation.

 

TRAINING MADE POSSIBLE BY

Emploi-Québec and Compétence Culture Logos

Structure (for Writers who Hate Structure)

Exploring Practice with Eric Micha Holmes

Dates: March 18, 20 & 22, 2019
Time: 10AM to 3PM (15 hours total)
Location: PWM
Fee: $45 (Please contact us if this fee would be a barrier to your participation)
Application deadline: February 24, 2019

This three-day workshop is aimed at playwrights who have a project they want to revisit—or have been chronically stuck on.

Ideal applicants are emerging/mid-career writers who may be familiar with Aristotle, Freytag, and Joseph Campbell, but haven’t read them in a while—or have found them unhelpful because they work in non-traditional modes. This workshop can be used to manipulate the thinkers mentioned above toward the playwright’s own unique, innovative, and bold artistic goals. Participants will also have the opportunity to hear (small selections) of their work read out loud and discussed rigorously using the tools being developed in this workshop.

This workshop will include:

  1. Overview of dramatic structure drawing from an eclectic variety of sources from antiquity to the modern day
  2. Prompts that may include some light writing exercises to share
  3. In-depth discussion, argument, and practice

How to Register:

Send applications to: harris@playwrights.ca and emma@playwrights.ca.
Use subject line: Exploring Practice with Eric Micha Holmes
Deadline to Apply: February 24, 2019
Note: Please include your CV/Bio as well as brief paragraph explaining your interest in this training.

Biography:

Eric Micha Holmes is a playwright and radio dramatist whose work has been heard on the BBC (“Care Inc.”) and seen at The National Black Theatre (“Mondo Tragic,”) The New Black Fest and MCC Theatre (“Pornplay; or, Blessèd Are The Meek,”) and New York Theatre Workshop (“Nimpsey Pink.”). He’s a Dramatist Guild Fellow, Audible Award Recipient, and resident playwright of the National Black Theater.

His mono-play, “Walking Next To Michael Brown: Confessions Of A Tragic Mulatto,” was commissioned by The New Black Fest and has toured with Barrymore-Nominated “Hands Up: 7 Playwrights / 7 Testaments” to theatres across the country including:  The Brooklyn Museum Of Art, The Red Door Theatre, Crowded Fire Theatre, The Museum Of The Moving Image, The Hansberry Project, and Flashpoint Theatre.

Eric’s Website
Interview with Breaking Character Magazine 

 

TRAINING MADE POSSIBLE BY

Emploi-Québec and Compétence Culture Logos

Seeking Participants: Interdisciplinary Dramaturgy Lab

Lire l’annonce en français.

A five-day exploration of the art of dramaturgy across three disciplines

Dates: February 4-8, 2019  (Mon.-Fri.)
Times: 9:30 a.m. to 1:30 p.m. 
Location: Studio 303 (372 Ste-Catherine West, Montreal, QC)
Participation fee: $80

This lab is open to creators, writers, choreographers, dramaturgs and interdisciplinary performance artists.

This 5-day laboratory is a gathering of dramaturgs from various disciplines to exchange best practices and fundamental aspects of live art. Led by Kathy Casey (dance), Dana Dugan (circus) and Sarah Elkashef (theatre), the lab is a space to exchange dramaturgical tools and challenges from an interdisciplinary perspective. It is an opportunity to acknowledge dramaturgy as an art form.

Application guideline: To apply for this training, please submit a bio, your CV, and a short (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 applications to emma@playwrights.ca and harris@playwrights.ca
Subject line: Interdisciplinary Dramaturgy Lab
Application deadline: January 21, 2019

Biographies:

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 will continue her research explorations and performance of the circus body and speculative performance narratives as a PhD student at Concordia, Fall 2018. 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.

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

Studio 303 Logo

 

Training made possible by

Emploi-Québec and Compétence Culture Logos

Protective Practices for Playwrights

ExplorinPractice with Robin Sokoloski

Lire l’article en français

LIVESTREAM THIS TRAINING:

For the first time ever, we will be offering a livestream of an Exploring Practice session. Live viewers will have the opportunity to ask questions in real time. Two 60-90 minute portions of the workshop will be streamed live:

  1. Starting roughly at 11 am ET on November 19th, Robin will familiarize participants with the basics of intellectual property and copyright law.
  2. Starting roughly at 10:30 am ET on November 20th, Robin will present an overview of production contracts (in particular premiere contracts and stock contracts).
  3. If you are interested in remotely attending these sessions, please email harris@playwrights.ca for more information. Please note that this a test run and may not become a regular practice.

 

An introduction to copyright, artists’ rights

Dates: November 19-21, 2018
Time: 10AM to 3PM
Location: PWM
Fee: $45 (Fee is not a barrier to anyone who might be interested/eligible)
Application deadline: November 4, 2018

 

Protective Practices for Playwrights

Through a sequence of liberating structures, Robin Sokoloski, Executive Director of Playwrights Guild of Canada will guide participants through a three-day hands-on workshop that will focus on the rights and freedoms of playwrights  within a Canadian theatre context.

The workshop will begin with an in-depth look at the rights one should know and understand about artist’s intellectual property. Participants will then be thoroughly introduced to the standard set of professional contracts (negotiated and ratified in June 2017 by Playwrights Guild of Canada and the Professional Association of Canadian Theatres). Specific clauses such as participation rights, minimum guarantees, and commissioning will be examined. Contacts that specifically pertain to musicals, theatre for young audiences and the licensing of amateur rights will be layered on to what has been already learned. The end of the day will involve a peer-to-peer consulting activity to exercise what has been discussed throughout the day.

Day two will look at engaging other creators and Playwrights Guild of Canada’s set of guidelines for devised and collective creation, translation, adaptation, and digital rights.

During day three, participants will have the chance to further develop their negotiation skills. Robin will meet each participant individually and will talk them through the first phase of a contract negotiation.

Each participant will have access to a digital package of contracts and an optional one-on-one contract clinic after the workshop has taken place with Playwrights Guild of Canada at the time of their choosing.

Application guideline: To apply for this training, please submit a bio and CV, and a short (1-2 paragraph) statement explaining why this subject interests you or how it is relevant to your practice.
Please send applications to emma@playwrights.ca
Subject line: Exploring practice with Robin Sokoloski
Application deadline: November 4, 2018

 

ROBIN SOKOLOSKI has been the Executive Director of Playwrights Guild of Canada (PGC) since 2010.

As Executive Director, Ms. Sokoloski has taken part in the organization’s triennial contract negotiations, launched the Canadian Play Outlet (a book store dedicated entirely to Canadian Plays), fostered a growing national awards program for playwrights, the Tom Hendry Awards, and led major changes within the organization. Recently, she spearheaded a research initiative on digital rights for playwrights.

As a facilitator, Ms. Sokoloski utilizes liberating structures to convene and engage participants in animated conversations on a variety of topics pertaining to the arts sector.

Ms. Sokoloski remains committed to ensuring Canadian artists are treated fairly and are informed of their rights. She volunteers for various arts organization as a way of staying connected to the arts community and ensuring public access to artistic experiences. She currently Chairs Access Copyrights’ Membership Advisory Committee, sits on Ryerson University’s Centre For Free Expression Advisory Committee, and is a founding member of Mass Culture/Mobilisation Culturelle.

 

Training made possible by

Emploi-Québec and Compétence Culture Logos