APPLY NOW: Creating Object Theatre with La Pire Espèce Copy

Note:
Due to its hands-on approach, this workshop will be held physically in accordance to PWM’s COVID-19 safety procedures. Contact harris@playwrights.ca for any questions about the workshop.

*UPDATE – May 25, 2021*
Application deadline extended to Friday, May 28 2021 at 5 PM EST.

Open to playwrights, puppeteers and other theatre creators, this bilingual four-day workshop led by Olivier Ducas and Francis Monty, co-artistic directors of the Théâtre de la Pire Espèce will guide participants through a creative process where image and text intermingle, a process in which the form emerges from the tension between all simultaneously examined scenic elements.

The unique form of object theatre is built around three key aspects: clear and poetic language, the possibilities of the object itself, and the actor’s performance, both manipulator and storyteller. Through hands-on exercises and practical discussions, La Pire Espèce will immerse you in the exciting, specialized and minimalist art of object theatre.


Schedule:

(4-day workshop)

9:30AM to 3:30PM EST every day

Session 1: Friday, June 25, 2021
Session 2: Monday, June 28, 2021
Session 3: Tuesday, June 29, 2021
Session 4: Wednesday, June 30, 2021

Location:

June 25th:
PWM Studio
7250 Clark St., #103
Montreal, QC
H2R 2Y3

June 28th-30th:
Maison internationale des arts de la marionnette
30, Saint-Just ave.
Montreal, QC
H2V 1X8


Creating Object Theatre is presented in collaboration with the Association québécoise des marionnettistes (AQM). The workshop is open to playwrights, puppeteers, performers and interdisciplinary creators. Members of the AQM are encouraged to apply. Please note that this is a hands-on workshop with some performance-based exercises. The workshop will be led bilingually in English and French, participants will be encouraged to express themselves in either 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 Pire Espèce.
  • You may send your application in English or French.

Apply before 5PM EST on May 28, 2021 to ensure that your application will be considered.

About the Workshop Leaders

Headshot of Olivier Ducas
Photo by Mathieu Doyon

Olivier Ducas studied acting at the National Theatre School of Canada. His decisive encounter with Francis Monty led in 1999 to the founding of Théâtre de la Pire Espèce, for which they act as co-artistic director. He also cofounded Théâtre Aux Écuries (2005) a creation center and theatre venue in Montreal and was one of Carte Premiere’s initiators. A playwright, actor, director and object/puppet manipulator, he is the co-creator of the company’s productions (Ubu on the Table, Perseus, Gestes impies et rites sacrés, Die Reise, Futur intérieur and L’Effet Hyde) that have toured across Canada, Europe, Mexico and Brazil over the last 20 years. In 2008, he single-handedly wrote and directed Roland, la vérité du vainqueur, a show for two actor-storytellers for teen audiences. In 2014, he repeated the experience with Cities, adding solo performer to his list of credits. He is currently working on the Contes zen du potager, a series of short, minimalist forms, where vegetables display all their substance. Ducas is a leading object theatre director in Canada. Research in object and image-based playwriting is at the core of his actions as a creator. In addition to his creative work, Ducas also gives object theatre classes for professionals, theatre school professors and theatre students.

Headshot of Francis Monty
Photo by Mathieu Doyon

A 1997 graduate of the playwrighting program at the National Theatre School of Canada, Francis Monty is a theatrical jack of all trades – directing, clowning, puppetry and his many writing projects all intertwine. In 1999 he co-founded Théâtre de la Pire Espèce with Olivier Ducas, and both share the position of artistic director. He has co-created many of the company’s plays, including Ubu on the table and Perseus. A number of his plays have travelled across Canada, and to Brazil and Europe, including Par les temps qui rouillentDéclownestrationTraces de clouneLéon le nulErnest T.Petit bonhomme en papier carbone and Nous sommes mille en équilibre fragile. He received the 2005 Masque award for best original script for Romances et karaoké, the 2014 Cochon dramatique for best original script for Petit bonhomme en papier carbone at the Gala des Cochons d’or and Ernest T. was nominated for best original script for young audiences for the Louise LaHaye Award.

WITH THE collaboration of
This workshop is financially supported by
Emploi-Québec_Logo
Compétence Culture Logo

Introducing the Cole Foundation Mentorship Emerging Translators

Playwrights’ Workshop Montréal and The Cole Foundation are thrilled to announce the participants to this year’s Cole Foundation Mentorship for Emerging Translators, Rhiannon Collett and Elaine Normandeau.

THE ARTISTS

Rhiannon Collett

Headshot of Rhiannon Collett
Photo credit: Yuula Benivolski

Rhiannon Collett (they/them) is an award-winning non-binary playwright, performer, director and translator based in Montreal and Toronto. Their work explores the ritualization of grief, gender performativity, queer/trans identity and the psychological effects of sexual objectification.

Selected playwriting credits include Miranda & Dave Begin Again / Miranda et Dave recommencent encore (2016 Playwrights Guild of Canada RBC Emerging Playwright Award, presented in French at the 2019 Festival du Jamais Lu, and the 2020 Festival les Petites Formes, Martinique); Wasp (commissioned by Nightswimming, presented at the 2019 Rhubarb Festival, and developed at the Stratford Festival Lab), The Kissing Game (commissioned by Youtheatre and Young People’s Theatre, developed at the 2018 Banff Playwrights Lab, produced by Youtheatre, awarded the META for Outstanding New Text 2019); Tragic Queens (commissioned and devised with CABAL Theatre/Wildside Festival 2018); There Are No Rats in Alberta (created as a part of the 2017-18 Buddies in Bad Times Emerging Creators Unit, presented at the Rhubarb Festival 2018 ), and the English language translation of Chienne(s) by Marie-Eve Milot and Marie-Claude St-Laurent (in development with BoucheWHACKED! Theatre Collective). Rhiannon’s work is funded by the Toronto
Arts Council, the Canada Council for the Arts and the Ontario Arts Council.

Rhiannon was a guest artist at the LungA festival in Seyðisfjörður, Iceland and artist-in-residence at the Mauser Eco House in Costa Rica. They are a graduate of Generator’s Performance Criticism Training Program, Buddies in Bad Times Emerging Creators Unit, Playwrights’ Workshop Montreal’s Young Creators Unit and Black Theatre Workshop’s Artist Mentorship Program.

Rhiannon is a settler in Toronto, on the traditional territories of the Mississaugas of the New Credit First Nation, the Huron-Wendat and the Haudenosaunee peoples, and in Tiohtià:ke (Montreal), on the traditional, un-ceded territory of the Kanien’kehá:ka people.

Play in translation: Ces regards amoureux de garçons altérés by Éric Noël

Elaine Normandeau

Headshot of Elaine Normandeau
Photo credit: John Lederman

For 25 years, after studying law and then theater, Elaine Normandeau has worked as an assistant director and stage manager in French and English theatre.

During these years, she had the privilege of working on landmark productions such as Le Procès and Siegfried by Wagner directed by François Girard, One Flew Over the Cuckoo’s Nest and Le misanthrope directed by Michel Monty, Belles-Soeurs directed by René Richard Cyr, Intérieur and Au coeur de la rose directed by Denis Marleau, Variations énigmatiquesUn fil à la patte and Equus directed by Daniel Roussel,  Une musique inquiétante/Old Wicked Songs directed by Martin Faucher, Waiting for the Barbarians and Amadeus directed by Alexandre Marine and Top Girls directed by Micheline Chevrier. In 2017, Elaine Normandeau participated as linguistic director in the film  Hochelaga, terre des âmes by François Girard, immersed in Mohawk and Anishnaabe cultures. She also works as a translator and creates surtitles for the theatre.

Play in translation: Muliats by Charles Bender, Charles Buckell, Marco Collin, Xavier Huard, Natasha Kanapé Fontaine et Christophe Payeur (le collectif)

THE PROGRAM

The translation of new work for the stage is a core part of our programming. Since its inception in 2013, the Cole Foundation Mentorship for Emerging Translators (formerly Cole Competition for Emerging Translators) has been guiding the next generation of translators from French into English. 

With the expert guidance of acclaimed translator Maureen Labonté and in partnership with the Cole Foundation, PWM has built a program that mentors emerging translators through every stage of the process. The successful candidate receives a $1,000 honorarium and an eight-month mentorship with Maureen Labonté which includes a workshop with actors and a public reading.

More details about the program available here.

This program is a partnership between
Logo of the Cole Foundation

APPLY NOW: Creating Object Theatre with La Pire Espèce

Note:
Due to its hands-on approach, this workshop will be held physically in accordance to PWM’s COVID-19 safety procedures. Contact harris@playwrights.ca for any questions about the workshop.

*UPDATE – May 25, 2021*
Application deadline extended to Friday, May 28 2021 at 5 PM EST.

Open to playwrights, puppeteers and other theatre creators, this bilingual four-day workshop led by Olivier Ducas and Francis Monty, co-artistic directors of the Théâtre de la Pire Espèce will guide participants through a creative process where image and text intermingle, a process in which the form emerges from the tension between all simultaneously examined scenic elements.

The unique form of object theatre is built around three key aspects: clear and poetic language, the possibilities of the object itself, and the actor’s performance, both manipulator and storyteller. Through hands-on exercises and practical discussions, La Pire Espèce will immerse you in the exciting, specialized and minimalist art of object theatre.


Schedule:

(4-day workshop)

9:30AM to 3:30PM EST every day

Session 1: Friday, June 25, 2021
Session 2: Monday, June 28, 2021
Session 3: Tuesday, June 29, 2021
Session 4: Wednesday, June 30, 2021

Location:

June 25th:
PWM Studio
7250 Clark St., #103
Montreal, QC
H2R 2Y3

June 28th-30th:
Maison internationale des arts de la marionnette
30, Saint-Just ave.
Montreal, QC
H2V 1X8


Creating Object Theatre is presented in collaboration with the Association québécoise des marionnettistes (AQM). The workshop is open to playwrights, puppeteers, performers and interdisciplinary creators. Members of the AQM are encouraged to apply. Please note that this is a hands-on workshop with some performance-based exercises. The workshop will be led bilingually in English and French, participants will be encouraged to express themselves in either 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 Pire Espèce.
  • You may send your application in English or French.

Apply before 5PM EST on May 28, 2021 to ensure that your application will be considered.

About the Workshop Leaders

Headshot of Olivier Ducas
Photo by Mathieu Doyon

Olivier Ducas studied acting at the National Theatre School of Canada. His decisive encounter with Francis Monty led in 1999 to the founding of Théâtre de la Pire Espèce, for which they act as co-artistic director. He also cofounded Théâtre Aux Écuries (2005) a creation center and theatre venue in Montreal and was one of Carte Premiere’s initiators. A playwright, actor, director and object/puppet manipulator, he is the co-creator of the company’s productions (Ubu on the Table, Perseus, Gestes impies et rites sacrés, Die Reise, Futur intérieur and L’Effet Hyde) that have toured across Canada, Europe, Mexico and Brazil over the last 20 years. In 2008, he single-handedly wrote and directed Roland, la vérité du vainqueur, a show for two actor-storytellers for teen audiences. In 2014, he repeated the experience with Cities, adding solo performer to his list of credits. He is currently working on the Contes zen du potager, a series of short, minimalist forms, where vegetables display all their substance. Ducas is a leading object theatre director in Canada. Research in object and image-based playwriting is at the core of his actions as a creator. In addition to his creative work, Ducas also gives object theatre classes for professionals, theatre school professors and theatre students.

Headshot of Francis Monty
Photo by Mathieu Doyon

A 1997 graduate of the playwrighting program at the National Theatre School of Canada, Francis Monty is a theatrical jack of all trades – directing, clowning, puppetry and his many writing projects all intertwine. In 1999 he co-founded Théâtre de la Pire Espèce with Olivier Ducas, and both share the position of artistic director. He has co-created many of the company’s plays, including Ubu on the table and Perseus. A number of his plays have travelled across Canada, and to Brazil and Europe, including Par les temps qui rouillentDéclownestrationTraces de clouneLéon le nulErnest T.Petit bonhomme en papier carbone and Nous sommes mille en équilibre fragile. He received the 2005 Masque award for best original script for Romances et karaoké, the 2014 Cochon dramatique for best original script for Petit bonhomme en papier carbone at the Gala des Cochons d’or and Ernest T. was nominated for best original script for young audiences for the Louise LaHaye Award.

WITH THE collaboration of
This workshop is financially supported by
Emploi-Québec_Logo
Compétence Culture Logo

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
Emploi-Québec and Compétence Culture Logos

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