APPLY NOW: Building Your Grant Proposal with Jesse Stong

*UPDATE*
Application deadline extended until Friday April 23, 2021.

Using innovative and interactive activities, Jesse Stong (Art educator / Playwright / Dramaturg) will support emerging artists as they develop strong applications for their own future project grants.

From seeding and exploring initial ideas to developing dynamic writing samples, participants will have the opportunity to elaborate and articulate project outlines with realistic timelines and budgets. By the end of these hands-on sessions, each participant will leave with their own completed first draft of a grant proposal, as well as strategies on seeking diverse sources of funding, independent fundraising strategies, and guidance on partnerships-building strategies for the future life of their proposed project.


Schedule:

(2-part group session)

Part 1 – Wednesday, May 5th
10am-2pm

Part 2 – Thursday, May 6
10am-2pm

In addition to the group sessions, individual or smaller group calls may be scheduled based on the participants’ availability.

Location:

The workshop will take place remotely via video-conferencing software.

Contact harris@playwrights.ca for any questions about setting up for the workshop.


Topics Covered

  1. General grant writing tips/cautions
  2. Stress and time management/infusing grant writing into your artistic practice
  3. Hands-On Project Proposal Building (developing treatment, describing project)
  4. Creative Activities (exploring innovative grant writing processes)
  5. Expressing authentic need and attracting support
  6. Group Brainstorm Sessions (exploring ideas, developing proposals further in the workshop)
  7. Editing and Increasing Impact (How to sharpen your grant)
  8. Action planning/specific measurable steps towards grant submission
  9. Ongoing Discussions/Group Sharing of Resources/Sources of Funding

Expectations

  • Please 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)
  • Be prepared to support the ideas of others/contribute to the group discussions.
  • Expect to leave with a clear plan to complete your grant application.

Application Instructions

  • Please attach a bio and/or CV as well as a brief paragraph detailing your interest in the workshop.
  • Send applications to harris@playwrights.ca with subject line: Exploring Practice with Jesse Stong.
  • Apply before  5 PM on April 23, 2021
  • Due to the revised format of the workshop, the number of participants may be limited to ensure that each participant gets the most out of the workshop.

About the workshop leader

Headshot photograph of Jesse Stong
Photo by Nasuna Dawn

Jesse Stong is a proud father of twins, a graduate of Playwriting from the National Theatre School of Canada, and received his Master’s in Art Education from Concordia University. He is an award-winning artist, dramaturg, and educator.

Over the years, he has supported over 100 emerging Canadian storytellers as director of our Young Creators Unit.  He also leads our New Stories Project for artist with different abilities.

Jesse is an occasional content creator/editor for Moment Factory, and was recently Manager of Children’s Programming for Watchmojo.com, Associate Curator for the National Arts Centre Disability Summit, and Host of the Montreal English Theatre Awards.

Presented in collaboration with
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This workshop is financially supported by
Emploi-Québec_Logo
Compétence Culture Logo

APPLY NOW: CIRCUS — Writing in the In-Between with Andréane Leclerc

Note:
due to the COVID-19 pandemic, this workshop will take place remotely.
Contact harris@playwrights.ca for any questions about the workshop.

This bilingual five-day workshop led by circus artist Andréane Leclerc will explore the process of creating and performing circus from an interdisciplinary perspective.

Too often, circus acts are simply inserted into an existing work or juxtaposed with other forms. There are many reasons for this, including the technical constraints of the art form and the particularity of its languages. These challenges can complicate staging, research and creation processes, and can hinder real interdisciplinary dialogue. How then can we reflect on circus as a subject within an interdisciplinary creative process? How do we move beyond a dichotomy between two disciplines? What can we discover in the in-between? What new dramaturgical possibilities might emerge?


Schedule:

(5-day virtual workshop)

1PM to 4PM EST every day
Monday, January 25 to Friday, January 29, 2021.

Location:

The workshop will take place remotely via video-conferencing software.


This workshop offers a space for reflection, exchange, dialogue and creation. Participants will be led to question and discuss different visions and possible interpretations linked to the challenges inherent in circus creation. The workshop’s hands-on format seeks to disrupt the hierarchy of scenic languages ​​to allow new performance forms to arise. It is an invitation to develop a practice of active listening and sensitive dialogue, to delve into the heart of the unknown, and to find links in the porous in-between zones. 

Writing in the In-Between is open to creative artists from all disciplines with experience or interest in circus arts, interdisciplinary creative processes, and contemporary dramaturgy.

Topics covered will include:

  • The multidisciplinary vs. the interdisciplinary;
  • Exploring disciplinary permeability;
  • Distinguishing between lived vs. perceived experience in the context of circus performance;
  • Dramaturgical challenges in the circus pieces;
  • Contemporary dramaturgy;
  • Staging questions;
  • Developing a common language.

Application Instructions

  • Please send us a bio and/or artistic CV as well as 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.
  • Send applications and any questions to harris@playwrights.ca with the subject line: Exploring Practice with Andréane Leclerc.
  • You may send your application in English or French.

Apply before noon on January 8, 2021 to ensure that your application will be considered.

Work plan

The course will begin with group discussions, followed by a pair or individual work sessions. The instructor will also offer a personalized, one-hour session with each pair or individual. 

Lesson plan

Day 1: Introduction – Circus

What is it? How did it come to be that? What does it mean?

Day 2: Circus disciplines and the relationship to the object

Is it extension of the body? A binary duality?
Where do we situate circus? How do we differentiate between acrobatics, acrobats and their apparatus?

Day 3: Acrobatic language

What is its inherent system? What can we hide and reveal?
Where does dramaturgy come into play?
What are the technical repercussions of dramaturgical choices ?

Day 4: Space-time, and the question of becoming

What is circus’ relationship with other forms? How can they be brought together coherently?

Day 5: Conclusion – The encounter with the audience 

 Reflecting on the context in which a piece is presented.

About the workshop leader

Photo by Valérie Sanguin

Founder of Nadere Performing Arts, Andréane Leclerc graduated from the National Circus School of Montreal in 2001. Driven by a desire to harness contortion technique as a malleable material that is capable of generating a world of sensation and imagery beyond the spectacular, she now creates her own experimental and conceptual performances – Di(x)parue (2008), Insuccube (2012), Eat Me (2013), Bath House (2013), Cherepaka (2014), Sculptural body (2014) and The Whore of Babylon (2015). In 2013, she finished a masters degree in circus dramaturgy in the Theatre department at Université du Québec à Montréal (UQAM) under the direction of Marie-Christine Lesage. Actually in a co-creation with the dancer and choreographer Dany Desjardins called Sang Bleu, Andreane has a particular interest in the scenes that pushes limits out (cabarets, Edgy Women Festival, Short and Sweet, Piss in the Pool, Salon K). She continues to interpret for choreographers and directors such as Peter James (Famille Déjantée), Angela Konrad (Variations pour une déchéance annoncée) and Theatre Republique in Denmark (The Tiger Lillies performs Hamlet, 2016). Since 2014, Andreane gives workshops around the world for circus artists: Acrobatic dialogue and Contortion technique. Recently, Andréane also offers Contortion for All that aims to demystify and undo clichés inherent to the art of contortion by introducing a strong technique and giving tools to allow movements throughout the whole spine.

WITH THE collaboration of
This workshop is financially supported by
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APPLY NOW: Archipelago Dramaturgies — a world in process

Exploring Practice Intensive - Archipelago Dramaturgies hero image

Join us for a week-long, bilingual workshop of exploring dynamic practices with Jessie Mill and Katalin Trencsényi!

“Every archipelagic thought is a thought of trembling, of non-presumption, but also of openness and sharing.”

— Edouard Glissant, Treatise on the Whole-World

Playwrights’ Workshop Montréal (PWM), in collaboration with the Centre des auteurs dramatiques (CEAD) is announcing their third, week-long dramaturgy intensive workshop, Archipelago Dramaturgies/Archipel de dramaturgies, jointly led by Jessie Mill and Katalin Trencsényi. The aim of the intensive is to explore, exchange, share and innovate dramaturgical practices across cultures and art forms via collaboration, debates and discussion. The environment for our collective discovery (as has always been the case with these intensives) is a shared place where we feel supported to explore together, with a permission to fail and no pressure to deliver. Through these playful exchanges we hope to uncover things that cannot be planned, only found together. The format of the workshop will be hybrid (on-site and online) and bi-lingual (English and French).


Schedule

(5-day mixed on-site and virtual workshop)

9:30AM to 5:00PM EST every day
Monday, March 8 to Friday, March 12, 2021.

On-site location

7250 Clark St., #103
Montréal, QC
H2R 2Y3


This year’s theme is inspired by the local geography and forces of nature. Combining geography, philosophy and dramaturgy, we want to investigate how thinking with the archipelago (paying attention to the power of cross-currents, connections and the dynamic form of constellations) can help us, performing arts practitioners, to negotiate a fluid balance between a variety of cultures, practices, and knowledge systems. With this workshop we would like to think about practices that evoke and rely on interconnectedness, and inter-relations.

The workshop will be rooted in our local (artistic) communities and will be made to measure to respond to the participants’ projects. The aim is to create rewarding circulations and navigations between the contributions of all the participants and the workshop leaders. 

For each day of the week, we’ll have a different entry to explore dramaturgy from that given perspective: space/time, body/physicality, text/translation, sound/silence/voice, and audience. Through these and the sharing of questions rising from the participants’ concrete and actual working processes and explorations, we want together to find out more about how thinking with the archipelago can inform and perhaps improve our work.

The format  will cover: 

  • work in the studio (as a group);
  • individual work and readings;
  • encounters with invited guests (online and in-situ);
  • discussions;
  • access to visual documents, recordings & films;
  • creating a shared virtual / online library;
  • one-to-one support;
  • one theatre outing;
  • and our week’s closing feast.

To join us on this collective journey, exploration, exchange and practice-improvement, PWM and CEAD are offering the opportunity to participate in this week-long intensive for eight dramaturgs (of any performance discipline) or working pairs (dramaturgs with artist practitioners-playwrights, devisers, designers, choreographers, etc.) from the Quebec community who are interested in this topic, and are currently working on a piece  or have a practice-related investigation that is challenging, innovative in its dramaturgy and resonates with our keywords.

Keywords and inspirations

  • in-between-ness;
  • interconnections;
  • connectivity;
  • dynamic forms;
  • cross currents;
  • sea changes;
  • constellations;
  • relationality;
  • hybridity;
  • metamorphosis;
  • transformation;
  • fluid states.

Requirements

  • identify yourself as a dramaturg (of any performance discipline, including dance) or be part of a dramaturg/artistic practitioner pairing;
  • have a project that you are working on/part of, that is relevant from a dramaturgical aspect or have a project/a question in mind that you would like to explore in the near future and this workshop would be relevant and useful for developing it;
  • willingness to make a short (15-min) presentation about this particular project for the workshop participants;
  • competency in both English and French to be able to follow and participate in a bi-lingual conversation;
  • willingness to work collaboratively;
  • to be free for the entire length of the workshop week.

Application Instructions

To apply, send a short application in English or French to Harris Frost at harris@playwrights.ca with the subject line: Application – Archipelago Dramaturgies. Your application should answer these questions:

  • Applicant(s) name(s) and contact details;
  • What is the work-in process project you are bringing into our working space to examine;
  • How will this project benefit from your participation in the intensive;
  • Your short biography;
  • Confirmation that you are free during the whole period of the workshop, and that you are willing to (and in case of a collaboration have permission to) make a presentation about your work;
  • Any access requirements.

Apply before 11:59PM on January 11, 2021 to ensure that your application will be considered.

About the Workshop Leaders

Photography of Jessie Mill
Photo by Sandrick Mathurin

Jessie Mill has worked as an artistic advisor at the Festival TransAmeriques for its programming in theatre and dance since 2014. She is also responsible for organizing the festival’s artistic encounters and outreach activities, such as the “FTA Clinics”. She provides guidance and support to stage productions (Canada France, Burkina Faso), conducts interviews with artists and teaches on occasion. She is also part of the editorial board of Liberté, a cultural magazine in Quebec. Jessie writes about performances and critical issues in the performing arts. Between 2010 and 2014, she was the international projects’ advisor at the Centre des auteurs dramatiques (CEAD), where she currently serves as associate dramaturg. She currently works as a facilitator at the 2019-2020 edition of the Labo Elan, part of Récréâtrales, a Pan-African residency for writing, research and development in the field of theatre in Ouagadougou.

Photography of Katalin Trencsényi
Photo by Lilla Khoór

Katalin Trencsényi is a dramaturg and researcher of Hungarian origin, based in London. Her areas of interest are contemporary theatre and performance, in particular: new dramaturgy, collaborative processes, women in theatre, and epidemic and theatre. A freelance dramaturg since 2000, Katalin has worked with the National Theatre, the Royal Court Theatre, Soho Theatre, Corali Dance Company, and Deafinitely Theatre, and with many independent artists. As a theatre-maker Katalin has worked and taught internationally: in Belgium, Canada, Hungary, Lithuania, Poland, Romania, Russia, and the US. Katalin co-founded the Dramaturgs’ Network (d’n) in 2001, has worked on its various committees, and served as its President (2010-2012). Katalin is the author of Dramaturgy in the Making. A User’s Guide for Theatre Practitioners (Bloomsbury Methuen Drama, 2015), editor of Bandoneon: Working with Pina Bausch. (Oberon Books, 2016), co-editor with Bernadette Cochrane of New Dramaturgy: International Perspectives on Theory and Practice (Bloomsbury Methuen Drama, 2014). Since 2018 Katalin has been working as the editor of the dramaturgy section of the global theatre portal, TheTheatreTimes.com.

WITH THE collaboration of
This workshop is financially supported by
Emploi-Québec and Compétence Culture Logos

Apply Now: Interdisciplinary Dramaturgy Lab

Illustration for the Interdisciplinary Dramaturgy Lab workshop 2021

Note:
due to the COVID-19 pandemic, this workshop will take place remotely.
Contact harris@playwrights.ca for any questions about the workshop.

PWM and Studio 303 invite dramaturgs, theatre artists, dancers, circus artists and interdisciplinary artists to the third 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 to exchange dramaturgical tools, share challenges and experiences, and explore how we are working in these exceptional times.


Schedule:

(5-day virtual workshop)
9:30 AM to 12:30 PM EST every day
Monday, January 11 to Friday, January 15, 2021.

Location:

The workshop will take place remotely via video-conferencing software.

Fee:

$60 
(Please contact us if this fee would be a barrier to your participation)


Application Instructions

  • Please send us a bio and/or artistic CV as well as a brief (1-2 paragraph) statement explaining why this lab interests you, how it is relevant to your artistic practice, and what your expectations are for this lab.
  • Send your application and any questions to:  harris@playwrights.ca using the subject line: Interdisciplinary Dramaturgy Lab
  • Apply before  11:59 PM on December 18, 2020 to ensure that your application will be considered.

About the Workshop Leaders

Photo by George Dutil

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.

Photo by Dominic Brunet

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.

Photo by Nasuna Dawn

Born in the UK, Fatma Sarah Elkashef is a dramaturg based in Tiohtià:ke (Montreal) working in new play development and interdisciplinary creation.  Since 2013 she has been a dramaturg at Playwrights’ Workshop Montréal (PWM) where she has collaborated on numerous plays and performances. Sarah began the Interdisciplinary Writers’ Lab at PWM to explore non-text centric approaches to theatre/performance creation and is deeply inspired by the brilliant theatre, dance, circus, performance and visual artists who have been a part of it thus far. At the National Theatre School of Canada she has worked across programs as a dramaturg, creator, and teacher since 2012. Sarah’s preoccupations are rooted in her hybrid identity and practise, and she is excited by the possible futures for collaboration and process sharing across performance disciplines.

WITH THE collaboration of
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This workshop is financially supported by
Emploi-Québec and Compétence Culture Logos

APPLY NOW: Writing the political through the personal with Carmen Aguirre

Note:
due to the COVID-19 pandemic, this workshop will take place remotely.
Contact harris@playwrights.ca for any questions about the workshop.

This five-day workshop led by theatre artist and author Carmen Aguirre is focused on writing that taps into personal experiences, with the goal of generating content leading to the creation of a one-person show or a multi-character play.

Using an exercise from Augusto Boal’s Theatre of the Oppressed canon to kickstart the writing process, the group will explore personal stories that are intentionally set within a larger social, political, and historical context. 

The workshop will tackle the challenge of writing works which are meant to speak to universal experience as opposed to a writing process meant only for personal catharsis. Participants will also begin to learn how to wrap the personal and the political around each other effectively. The workshop will address questions such as: how do I write about personal experience without being self-indulgent? Why would anybody care about my personal story? How do I enter into a dialogue with the audience through my personal story, as opposed to using a personal story to enter into a dialogue with myself? How do I write about political issues that are important to me through personal story?


Schedule:

(5-day virtual workshop)

1PM to 4PM EST every day
Monday, December 14 to Friday, December 18, 2020.

Location:

The workshop will take place remotely via video-conferencing software.


Application Instructions

  • Please attach a bio and/or CV as well as a brief paragraph detailing your interest in the workshop.
  • Send applications to harris@playwrights.ca with subject line: Exploring Practice with Carmen Aguirre.
  • Apply before  1 PM on November 26, 2020 to ensure that your application will be considered.
  • Please note that the number of spots are very limited.

About the instructor

Carmen Aguirre is a Chilean-Canadian, award-winning theatre artist and author who has written and co-written over twenty-five plays, including Chile Con Carne, The Refugee Hotel, The Trigger, Blue Box, Broken Tailbone, and Anywhere But Here, as well as the #1 international bestseller Something Fierce: Memoirs of a Revolutionary Daughter (winner of CBC Canada Reads 2012), and its bestselling sequel, Mexican Hooker #1 and My Other Roles Since the Revolution.

She is currently writing an adaptation of Euripides’ Medea for Vancouver’s Rumble Theatre, Moliere’s The Learned Ladies for Toronto’s Factory Theatre, a short digital piece for Ontario’s Stratford Festival entitled Floating Life, and an untitled play on the life of famed twentieth century Italian photographer and revolutionary Tina Modotti for Vancouver’s Electric Company Theatre. Reframed, an outdoor performance piece about online discourse, conceived and co-created with The Electric Company, received its world premiere on October 7th, 2020, in Vancouver, commissioned by Ottawa’s National Arts Centre for its Grand Acts of Theatre initiative.

Carmen is a Core Artist at Electric Company Theatre, a co-founding member of the Canadian Latinx Theatre Artist Coalition (CALTAC), and has over eighty film, TV, and stage acting credits, including her award-winning lead role in the Canadian premiere of Stephen Adley Guirgis’ The Motherfucker with the Hat, and her Leo-nominated lead performance in the independent feature film Bella Ciao!. She looks forward to starring in Cecilia Araneda’s stunning debut feature film, Intersection, to be shot in Winnipeg in Spring 2021. Carmen is presently on the 2020 Siminovitch Prize shortlist, the most prestigious theatre award in Canada. She is a graduate of Studio 58.

carmenaguirre.ca

WITH THE collaboration of
Imago Theatre logo
This workshop is financially supported by
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Welcome to our Digital Dramaturgy Clinic!

Do you have a performance piece you have been working on for some time, with concepts you want to fold into your work but do not know how to accomplish technically or digitally?

Perhaps you are at the early stages of your next creation, and want to gather information and knowledge on what is possible on a technical and digital level?

Or maybe you had a piece originally intended for live performance, and want to carry it over in a digital format?

“I want to write holograms into my piece, how would holograms work on stage?”

This digital dramaturgy “first-aid” program offers creators a one-time session (up to 2 hours) with tech and digital specialists Emily Soussana & Andrew Scriver (otherwise known as potatoCakes_digital), to discuss their creation and the technical questions they might have. 

After learning about your goals, Emily and Andrew will help you brainstorm and offer possible technical or digital solutions to your needs. They can discuss the technical processes required, as well as potential story-driven digital concepts to best translate your piece digitally. 

HOW IT WORKS

The Digital Dramaturgy Clinic is an ongoing program, artists in need of assistance should contact Emily & Andrew at potatocakesdigital@playwrights.ca with a short synopsis of their work and the question they wish to address, so that the session can be prepared in advance.

Further consultation can be scheduled if appropriate. This program is set up to help you identify the expertise and technology you need to realize your vision.

project supported by
the FOUNDATION OF GREATER Montréal COVID-19 Collective Fund