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The Collaborative Dramaturgical Process with Emma Tibaldo

A blue background with a green paint splatter on the upper left side. Beneath, to the left, the words Exploring Practice in white. To the right, the headshot of the workshop facilitator, Emma Tibaldo.
Application Deadline: sunday, November 16TH, 2025 AT 11:59PM EST.

If you have any questions regarding accessibility, or require assistance with this application, please contact accessibility@playwrights.ca.

Have you always wanted to learn more about dramaturgy as an artistic practice or how to approach a process dramaturgically? In describing her Exploring Practice, Emma Tibaldo writes:

“There are as many dramaturgical processes as there are dramaturgs and playwrights. I will attempt to share some of the things I have learned in my 20-year career as Dramaturg, and Director of New Canadian Plays. This workshop is open to emerging dramaturgs and theatre artists curious about the collaborative dramaturgical process.

We will look at a variety of scenarios including:

How to begin a first conversation around the process with a playwright?

How to work with friends and colleagues?

How to gauge your own interest in a project? When to step away from a project?

How to work with directors and designers?

What does it mean to dramaturg a play and then transition into directing the production?

What is our responsibility to the theatre community we work in?

There will be practical group and individual exercises. You will be asked to share your own experiences in an effort to learn from one another and to identify some best practices we can then expand on in our own collaborations. 

We will end our time together with an open question session. You will have the opportunity to ask anything you like about Dramaturgy (and stuff related to theatre) to PWM Dramaturgs and myself.”

SCHEDULE

Monday, December 15, 2025: 10AM to 2PM

Tuesday, December 16, 2025: 10AM to 2PM

Wednesday, December 17, 2025: 10AM to 2PM

Thursday, December 18, 2025: 10AM to 2PM

Participants are expected to be available for the duration of the scheduled sessions.

LOCATION

PWM Studio: 7250 Rue Clark #103, Montreal, Quebec, H2R2Y3

Click here for accessibility information and video tours of our location.

HOW TO APPLY:

If you are interested in applying, please fill out this Google Form by 11:59 PM EST on Sunday, November 16, 2025.

Questions about this workshop can be sent to PWM’s Professional Development and Training Coordinator, Alexy Trottier, at alexy@playwrights.ca with the subject line: Exploring Practice with Emma Tibaldo.

If you have any questions regarding accessibility, or require assistance with this application, please contact accessibility@playwrights.ca.

Click here for accessibility information and video tours of our location.

PWM welcomes all applications. While recognizing that the identity of each person is fundamentally plural, and multidimensional, we strongly encourage applications from artists who are: Indigenous (First Nations, Métis, and Inuit), Black, POC, racialized (including recent immigrants), 2SLGBTQQIPAA+, neurodivergent, disabled, living with chronic illness and/or chronic pain. PWM is strongly committed to supporting a wide range of cultural identities and lived experiences, therefore we encourage applicants to self-identify in their application if they are comfortable doing so.

ABOUT THE WORKSHOP FACILITATOR:

Emma is presently Artist in Residence at Concordia University, a freelance Director and Dramaturg, faculty member of the Banff Arts Centre’s Playwrights Lab, and Associate Artist with Poverty Cove Theatre. She is the former AED of Playwrights’ Workshop Montreal where for fourteen years she dramaturgically collaborated on many new Canadian plays. Emma is an award winning director whose work has been presented across Canada. Most recently IDEMY by Elena Belyea, Still Life by Marie-Claude St-Laurent and Marie-Ève Milot, and Grace by Megan Gail Coles. She is a recipient of LMDA’s Elliott Hayes Award for Outstanding Achievement in Dramaturgy, and the Conseil Québécois du théâtre Prix Sentinelle. She is also a member of the interdisciplinary company, The Bakery. She co-founded Talisman Theatre fresh out of NTS. She feeds her inner punk rocker by playing in two basement bands.

Photo Credit: Bernardo Fernandez

LEARN MORE ABOUT EXPLORING PRACTICE WORKSHOPS

THIS WORKSHOP IS FINANCIALLY SUPPORTED BY

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Announcing the 2025-2026 Introduction to Theatre Translation Participants

A red background with a white translucent pyramidal shape on the left hand side. On the top left, the years 2025-2026 written in purple. Beneath, the words Introduction to Theatre Translation written in white. To the right, the headshots of Lamia Karam and Camille Paré-Poirier. Beneath those, the logos for PWM and CEAD.

PLAYWRIGHTS’ WORKSHOP MONTRÉAL AND LE CENTRE DES AUTEURS DRAMATIQUES ARE THRILLED TO WELCOME LAMIA KARAM AND CAMILLE PARÉ-POIRIER AS PARTICIPANTS OF THE THIRD EDITION OF INTRODUCTION TO THEATRE TRANSLATION.

From September to March, Lamia and Camille will work with PWM and CEAD under the guidance of acclaimed playwrights and theatre translators Alexis Diamond and Mishka Lavigne. Lamia will translate two excerpts from contemporary Québécois plays from French to English. Camille will work closely with le CEAD to translate two excerpts from English to French. 

Each participant will receive 20 hours of translation mentorship over the course of the program. They will also have the opportunity to connect and discuss directly with the original playwrights to deepen their understanding of the texts. 

The mentorship will culminate in two workshops per excerpt, and a meeting of the full team  at the PWM Studio to share their work, discuss the process, and reflect on their learnings.

French to English Participant, Lamia Karam

Lamia Karam (she/her) is a trilingual actor and theatre artist based in Tiohtià:ke/Montreal and a recent graduate of Concordia University’s BFA in Acting for the Theatre. Raised as a third culture kid, she grew up moving between languages and cultures, a reality that continues to shape her artistic voice. Living between English, French, and Arabic has nurtured her curiosity about the ways language bridges, and sometimes defines our worlds. As a performer, Lamia is drawn to work that interrogates identity, culture, and selfhood. Collaboration and care are at the core of her process, and she strives to create spaces rooted in curiosity and connection. Her interest in theatre translation emerges from this same impulse: to bridge divides and make space for voices across linguistic and cultural lines.

Photo credit: Brooklyn Melnyk

English to French Participant, Camille Paré-Poirier

Camille Paré-Poirier est autrice et comédienne. Elle développe son écriture par le biais de l’autofiction, de l’approche documentaire et de la poésie. En 2021, elle publie Dis merci, un recueil de poésie narrative qui se retrouve dans la sélection du jury du Grand Prix du Livre de Montréal. Elle scénarise, coréalise et interprète le balado Quelqu’une d’immortelle, disponible sur Ohdio et La Fabrique culturelle de Télé-Québec. En 2023, elle adapte son balado pour la scène, sous forme d’un solo documentaire. Je viendrai moins souvent s’est mérité le Prix écriture dramatique de la saison 2022‑2023 du Centre du Théâtre d’Aujourd’hui, en plus d’être repris dans plusieurs salles à Montréal et ailleurs au Québec. Ancrés dans une démarche transdisciplinaire, ses différents projets l’amènent à aborder les concepts du « soin » et de la transmission au féminin. Depuis 2022, Camille est collaboratrice à l’émission Il restera toujours la culture, sur les ondes de Radio-Canada.

Photo credit: Julie Artacho

Lamia’s Mentor, Alexis Diamond

Headshot portrait of author Alexis Diamond

Alexis Diamond’s multidisciplinary practice encompasses theatre, installation-performance, opera, musical theatre, translation, curation and dramaturgy. Alexis was a finalist for the 2020 Governor General’s Award for her translation of Pascal Brullemans’ plays for young audiences, Amaryllis and Little Witch (Theatre Direct/Geordie Theatre/Playwrights Canada Press), and the 2021 Tom Hendry TYA Award for her translation of Érika Tremblay-Roy’s The Problem with Pink (Le Petit Théâtre de Sherbrooke/Lansman).

Alexis’ translation of Marie-Claude Verdier’s Seeker will premiere at the Centaur Theatre in spring 2026, in a co-production with Talisman theatre directed by Rebecca Gibian. Alexis has also translated award-winning plays by Audrey-Anne Bouchard & Marc-André Lapointe, Alexia Bürger, Virginie Daigle, François Grisé and Marie-Hélène Larose-Truchon, commissioned by Bouche Theatre Collective, DynamO Theatre, Infinitheatre, Théâtre Incliné and Un et un font mille.  Alexis has been the English-language translation mentor for Traductions Croisées since 2019. She has a B.A. Honours in English and Creative Writing from Concordia University and an M.A. in English Literature from the Université de Montréal. Many of her works can be found at the Canadian Play Outlet.

Photo credit: Ron Diamond

Camille’s Mentor, Mishka Lavigne

Autrice, scénariste et traductrice littéraire, ses textes ont été produits et développés au Canada, aux États-Unis, en Europe, en Australie, à Haïti et au Mexique. Elle était finaliste au prestigieux Prix Siminovitch en 2023. Son texte Havre, créé à la Troupe du Jour (Saskatoon), a remporté le Prix du Gouverneur Général en 2019. Copeaux, produit par le Théâtre de Dehors (Ottawa), a remporté ce même prix en 2021 en plus du Prix Jacques-Poirier. Murs, produit en format balado par Transistor Médias, Créations In Vivo et le Théâtre populaire d’Acadie, s’est attiré des honneurs en France et a été porté à la scène en 2023.

Mishka écrit aussi en anglais. Son texte Albumen, produit par TACTICS en 2019 (Ottawa), est récipiendaire du QWF Playwriting Prize ; de plus, on a récemment pu voir Shorelines (TACTICS) en 2023.

En tant que traductrice, autant vers le français que vers l’anglais, Mishka signe près d’une vingtaine de traductions de théâtre, de prose et de poésie.

Photo credit: Marianne Duval

This mentorship is presented in partnership with:

Les activités de la formation continue du CFC sont soutenues par le programme Intervention-Compétences et grâce à la participation financière du gouvernement du Québec.

With financial support from:

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The 2025-2026 Young Creators Unit

A red background with a purple streak on the righthand side. On the left, in white writing highlighted in black, the words Introducing the Young Creators Unit. On the right, highlighted by a white brush stroke, the years 2025-2026. Beneath, the logo of PWM in white.
PWM is thrilled to introduce the 2025-2026 Young Creators Unit!

For the next nine months, these eleven emerging playwrights and theatre artists will have the opportunity to develop their scripts, interdisciplinary projects, and artistic skills with individual dramaturgical mentorships, group workshops, professional development opportunities, and much more. Keep reading to learn more about each artist, as well as YCU’s Lead Dramaturg, Leila Ghaemi.

We look forward to celebrating our 11th year of YCU with this exciting Cohort!

Meet the Cohort

ALYSSA ANGELUCCI-WALL (she/her)

Alyssa Angelucci-Wall is a half-Haitian, Montreal-born artist and a graduate of Concordia University with a BFA in Theatre Performance. She is passionate about storytelling’s power to challenge and inspire, creating work that aims to be bold, inclusive, and culturally engaged, while also delighting in the funky, weird, and fun. Alongside experience on both established and original productions, she has contributed to the development of new plays through staged and private readings with several Montreal companies and training institutions. Committed to accessible and thought-provoking narratives, Alyssa seeks to amplify diverse voices and explore complex themes, fostering meaningful connections through writing, collaboration, and the creation of socially resonant work.

Photo Credit: Andrew Miller

HANESA BANKS (she/her)

Hanesa Banks is a writer living in Tiohtià:ke (Montréal). She holds a BA in English Literature and Creative Writing from Concordia University. Hanesa has been a performing spoken word artist since 2016. Her most notable shows include an International Women’s Day show for Sofar Sounds (2018), and a United Way Gala (2018). In April of this year she completed a Horror Writer’s Residency at the Banff Centre for the Arts. Her speculative horror stories explore a future-now in which people experience oppression as old patterns of colonization, white supremacy, and dominance digitize or become more layered while re-enforced by technology.

Photo credit: Hanesa Banks

HURIELL JEROME (he/him)

Huriell Jerome is a multiliterary and multilingual writer based in Montreal. His artistic journey began in 2022 with the self-publication of a poetry collection, which was presented at the YES Montreal Festival. Since then, Huriell has written and directed three short film projects. Lived experiences, diasporic narratives, and folkloric influences often inspire his current work. Having lived in different countries and observed how cultural narratives evolve across time and space. He is committed to telling stories that resonate emotionally and reflect the complexity of human interactions.

Photo credit: Dorothy Mombrun

IAN MCCORMACK (they/them)

Ian McCormack is an award-winning neurodivergent and queer playwright, dramaturg, producer, and puppeteer who splits their time between North Bay, Northern Ontario and Montréal, Quebec. With a focus on politics and social change, Ian’s theatre practice combines absurdity with reality, to create new works of theatre that transcend bodies and abilities. Ian is the Artistic Producer of Dense & Stage Theatre Collective in Montréal. Ian has also cultivated a transdisciplinary practice, working with a variety of companies, including Teesri Duniya Theatre (Montréal, QC), Theatre By The Bay (Barrie, ON), The Tamarack Festival (Timmins, ON) and the Bread & Puppet Theatre (Vermont).

Photo credit: Jack Murray Morgan

LOGAN ISAAC (he/him)

Logan Isaac is a Montreal born actor and writer. He graduated from the John Abbott College theatre program in 2024 where he found a love for creating and developing his own pieces. His works are often inspired by themes of mental health, identity, and self discovery. As a trans artist, he hopes to one day develop his own LGBTQIA+ focused theatre company to provide the kind of representation to his community that he needed when he was younger.

Photo credit: Logan Isaac

MERCEDEH (they/them)

Mercedeh is a theatre, film, performance, and visual artist. This storyteller loves to share Islamic subcultures, public ritual, and radical punk aesthetics. Past works include the short film Daughters of the Believers with the Michaëlle Jean Foundation & Montreal Museum of Fine Arts; performances of The Freedom Fighter, Surrender without Surrender & Solidarity Sema with articule gallery; and Sema ritual with Rumi Canada & The Aga Khan Museum. Originally hailing from a nomadic tribe of the Silk Road, they turn in the eye of the storm as a dervish, and in the same breath co-create at PME-ART in Tiotia:ke. Unlike a good dervish, Mercedeh is afraid to die.

Photo credit: Mercedeh

PATRICK DALE aka LITTLE STAR (he/they/them)

Patrick Dale AKA Little Star is an interdisciplinary performance/drag artist based in Tiohtià:ke/Montréal. Their work is always genderfucked and often explores themes of Desire / Shame, Sex, Glamour, Image Manipulation, and Creation of the Self. The choice to take on the name Little Star was inspired by the 1998 Madonna song, in which she sings, “Never forget who you are, Little Star.”

Photo credit: Lauryn Andersson

RAVYN R. BEKH (she/her)

Ravyn R. Bekh is an emerging, Montreal-born & Dawson Dome-raised, multi-hyphenate creative. Drawing inspiration from the likes of Hansberry and Parks, she aims to bring to life those homegrown stories of grime and grit – with a dash of soul and poetry. Always with angry women in mind, her practice roots itself in the exploration of blood memory, ancestral heat, and a refusal to sit politely inside Western expectations. Through the guidance of the YCU, Ravyn hopes to deepen this work—learning ( forever learning ) to braid it with the quiet divinity of the Land & the Spirit, and the power held within the Shadows.

Photo credit: Emelia Hellman

SEBASTIAN QUINT (he/him)

Born in Medellín, Colombia, and raised in Canada from age thirteen, Sebastian Quint has pursued acting as a way to give voice to his Latinx community. A graduate of Dawson’s Professional Theatre Program (2023), he toured Eastern Canada with Geordie Theatre and has collaborated with institutions such as Concordia University and Mount Royal Cemetery. Expanding his artistry beyond the stage, Sebastian works in film as an actor, producer, and writer, while also modelling. As founder of ACTRA Montreal’s Latinx Subcommittee, he champions authentic Latinx representation, building a multidisciplinary career that bridges cultures, stories, and communities.

Photo credit: Jeremy Cabrera

SHANNON CORENTHIN (she/her)

Shannon is a multi-disciplinary theatre artist focused on uplifting the voices of women of color on stage. After earning her BFA in Theater Performance at Chapman University in Southern California, she moved to New York City where she worked for various arts organizations such as The Vineyard Theatre, The Drama League, Hedgepig Ensemble Theatre and Dancewave. 

Now a Producer at Black Theatre Workshop, Shannon is excited to grow within the Montreal theatre community and rediscover herself as an artist.

Photo credit: Brooklyn Melnyk

VASSILIKI GICOPOULOS (she/her)

Vassiliki Gicopoulos is a Montreal (Tiohtià:ke) based actress, playwright, and dramaturg. A graduate of the DOME Theatre and the Concordia Performance Creation program, her artistic practice is grounded in vulnerability and embracing messiness as part of the method. Her work is often inspired by mythology and based in magical realism, exploring the “female” experience, grief, cyclical-violence and what it means to endure.

Photo credit: Emelia Hellman

This program is facilitated by YCU Dramaturg, Leila Ghaemi.

Leila Ghaemi (she/her) is a proud Persian dramaturg and theatre creator. She received her BFA in Theatre Arts and MFA in Theatre Education & Direction from Boston University’s School of Theatre, where she was trained in dramaturgical methods and practices. Having spent over a decade working for various theatre organizations in the United States and Canada, Leila has been able to further develop her admin and artistic skills professionally, specifically honing her craft in new play development. Her artistic pillars include MENASA representation, radical theatre empowerment, asking endless questions, and creating diverse, equitable, and inclusive spaces on and off stage. Leila also serves on the boards for Persephone Productions Montreal and Black Theatre Workshop.  When not dreaming about theatre, her world revolves around her very sassy cats: Leslie & Hiccup.

THE YOUNG CREATORS UNIT IS FINANCIALLY SUPPORTED BY:
Patrimoine canadien/Canada Heritage logo
Wordmark of the Government of Canada
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Announcing the 2025 Gros Morne Playwrights’ Residency Participants

A photo of Gros Morne National Park on a sunny day. On the bottom left, the words 2025 Gros Morne Residency Playwrights written in white.

Dévoilement des Participant.e.s de la Résidence de Gros-Morne 2025

Playwrights’ Workshop Montréal (PWM) and le Centre des auteurs dramatiques (CEAD), in partnership with Artistic Fraud of Newfoundland, Creative Gros Morne, the Bonne Bay Aquarium & Research Station, and with the vital support of the Cole Foundation, are pleased to announce the seven playwrights participating in the 2025 Gros Morne Playwrights’ Residency. 

This dual-lingual residency welcomes playwrights from across Canada and gives the creative space to work and share in the unparalleled landscape of Gros Morne National Park, Newfoundland and Labrador. The program offers dramaturgical conversations in French and English. 

For 10 days, Tara Beagan, Anahita Dehbonehie, Thomas Dufour, Sanita Fejzic, Dominique Leclerc, Elie Marchand, and Melissa Williams will be staying at the Bonne Bay Aquarium & Research Station in Norris Point. The artists-in-residence will have the opportunity to explore their plays through unstructured writing time, one-on-one dramaturgical conversations, and group discussions, held in both French and English.

Help support the artists of the 2025 Gros Morne Playwrights’ Residency by donating to PWM.

Playwrights’ Workshop Montréal (PWM) et le Centre des auteurs dramatiques (CEAD), en partenariat avec Artistic Fraud of Newfoundland, Creative Gros Morne, le Bonne Bay Aquarium & Research Station, et avec le soutien essentiel de la Fondation Cole, ont le plaisir de dévoiler les sept auteurs et autrices qui participeront à la Résidence canadienne d’écriture dramatique de Gros-Morne 2025.

Cette résidence bilingue accueille des écrivains de tout le pays pour partager un espace et nourrir des échanges portés par le paysage sans pareil du parc national du Gros-Morne, à Terre-Neuve-et-Labrador. Le programme offre un accompagnement dramaturgique en français et en anglais.

Pendant 10 jours, Tara Beagan, Anahita Dehbonehie, Thomas Dufour, Sanita Fejzic, Dominique Leclerc, Elie Marchand et Melissa Williams séjourneront au Bonne Bay Aquarium & Research Station à Norris Point. Les résidents auront l’occasion d’explorer leurs pièces pendant des périodes d’écriture non structurées, des conversations dramaturgiques individuelles et des discussions de groupe, qui auront lieu en anglais et en français.

Soutenez les artistes de la Résidence d’écriture dramatique du Gros-Morne 2025 en faisant un don à PWM.

Meet the Playwrights | Rencontrez les auteurs

tara beagan (alberta)

Tara Beagan is a proud Ntlaka’pamux and Irish “Canadian” halfbreed. She is cofounder & codirector of ARTICLE 11 with Andy Moro. Nine of her 38 plays are published. One won a Dora Award. In 2020, Honour Beat won the Gwen Pharis Ringwood Award for Drama. In 2025 The Ministry of Grace did the same. Beagan was the 2020 laureate of the Siminovitch Prize for theatre, playwriting.

Photo credit:  Andy Moro

PLAY IN DEVELOPMENT: Squeaky

1969. Squeaky is a young woman ageing out of foster care. Just as she fears she has no place to belong the news is overtaken by reports of some heinous murders in California – surely her true sisters! – and the election of a charismatic PM who is certainly Squeaky’s real father. 

anahita dehbonehie (ontario)

Anahita Dehbonehie is an Iranian artist currently based in Toronto. Her practice extends across design, direction and playwriting. Her award winning design work in performance has been featured across Canada and internationally. As a playwright she has received support from Nightwood Theatre, Outside the March, Driftwood Theatre and the Urjo Kareda residency at Tarragon Theatre, where her first play will premiere in the coming season. She is committed to work that challenges positions of power and creates space for incendiary conversation.

Photo credit: Nick Brownlee

PLAY IN DEVELOPMENT: Swallow the Fire

A bomb is about to go off but it’s unclear whether it will change the world or merely feed the algorithm. As the clock ticks toward detonation, the play unspools in real time: a confrontation between generations, between reform and revolution, and between public performance and private conviction. Swallow the Fire asks what happens when activism becomes theatre, when maternal love becomes collateral, and when the end of the world is less terrifying than the end of our illusions.

thomas dufour (QUÉBEC)

Thomas Dufour est un auteur dramatique et scénariste originaire du Lac-Saint-Jean. Il vit présentement à Montréal. En 2023, sa pièce Maison seule reçoit le prix Gratien-Gélinas. Il remporte en 2024 le grand prix du concours Cours écrire ton court avec son scénario Garage double. Thomas est diplômé du programme d’Écriture dramatique de l’École nationale de théâtre du Canada (2022).

Photo credit: Chantale Lecours

PLAY IN DEVELOPMENT: Surveillance

Frédérique travaille dans une salle de surveillance d’un CHSLD. Elle observe en continu les aînés par caméra, signalant chutes et anomalies. Pour survivre à cette proximité froide avec la mort, elle invente des vies aux résidents. L’arrivée de Jérémie, un jeune homme fuyant sa vie, change sa routine. Tranquillement, ils tombent amoureux en regardant des gens mourir. Surveillance questionne l’absurdité d’un système qui filme les derniers moments des personnes âgées, qui crée une distance entre eux et le monde. La pièce transforme progressivement ces corps filmés en existences singulières, vibrantes, dignes d’empathie.

sanita fejzic (ontario)

Sanita Fejzić is a playwright, poet, and literary writer. Her award-winning play, Blissful State of Surrender, about a refugee-turned-immigrant family from Bosnia and Herzegovina premiered at the Great Canadian Theatre Company in 2022. In 2023, Sanita produced Why Worry About Their Futures at the undercurrents festival, a tryptic of three short plays about eco-social justice. Sanita is midwifing Peasant Futurisms, an artistic movement that resists late capitalism and imagines edible and wilder futures grounded in Bosniak peasant traditions. Her radio play, Machines and Moss, produced in 2024 by the National Arts Centre, enacts a post-apocalyptic version of Peasant Futurisms. Sanita lives with her wife and kids on the unceded and unsurrendered territory of the Algonquin Anishinaabeg people in Ottawa.

Photo credit: ​​Curtis Perry

PLAY IN DEVELOPMENT: Land Matters

Land Matters dramatizes two brothers, Elvis and Amar, who must decide what to do with the vast plot of land they have inherited after the death of the father. Amar wants to keep the house and give back 95% of the land to the Indigenous community it was stolen from centuries ago. Elvis—who barely survived the Omarska concentration camp as the Army of Republika Srpska stole the family’s land—is more than outraged. After everything their family has been through, genocide and forced exile, he wants to sell and cash out. Muslim Bosniaks did not colonize Canada, so why should they contend with its colonial history? The clash of values between the two brothers is a personal story with universal resonance as refugee-turned-immigrants grapple with their responsibilities in an era of truth and reconciliation, growing political and economic uncertainly, and the normalization of neoliberal slogans like “build, baby, build” and “drill, baby, drill.”

Dominique leclerc (QUÉBEC)

Dominique est autrice, co-metteure en scène et interprète des pièces Une vie intelligente (Théâtre Duceppe), i/O (Festival TransAmériques, Carrefour international de théâtre de Québec, Centre du théâtre d’aujourd’hui,), et Post Humains (Espace Libre, FIND festival de la Schaubühne, Carrefour international de théâtre de Québec). Ses deux premières créations ont été finalistes au Prix Michel-Tremblay et ont été présentées en tournée à travers le Québec. Elle a réalisé et scénarisé le long métrage documentaire Post Humains, produit par l’Office national du film du Canada, paru en 2025. De 2009 à 2019, elle a été codirectrice de la compagnie de théâtre Les Biches Pensives, qui a produit 5 créations.

Photo credit: Robby Reis

PLAY IN DEVELOPMENT: À la perfection (titre provisoire)

Les millénariaux sont plus perfectionnistes que jamais. Encensée par la société occidentale, cette volonté d’exceller dans tout a des impacts majeurs sur leur équilibre mental (insatisfaction chronique, procrastination, anxiété, dépression, suicide). Confrontée à ses propres règles et standards trop élevés, l’autrice interroge notre capacité à errer et à tomber dans une époque obsédée par l’optimisation. Et si on priorisait la route à l’arrivée? À la perfection (titre provisoire) est une performance sur la performance, une mise en abyme de nos obsessions contemporaines, une invitation à célébrer l’imperfection humaine dans un monde en crise.

elie marchand (QUÉBEC)

Elie Marchand est un auteur et un artiste multidisciplinaire qui a créé cinq pièces de théâtre pour les jeunes publics. Dans ses œuvres, Elie cherche à montrer des personnages peu représentés et à donner espoir aux enfants pour qui la différence peut parfois apporter des difficultés. En plus de sa pratique pour les jeunes publics, Elie écrit des pièces tout public et participe régulièrement à des événements internationaux sur la dramaturgie contemporaine.

Photo credit: Nani Pujol

PLAY IN DEVELOPMENT: Armure

Armure est un docu-fiction où j’explore la relation avec ma grand-mère à travers le fil de notre histoire familiale. En mêlant souvenirs personnels, archives et fragments de dialogues, je tisse un récit où la couture devient métaphore : coudre, découdre, raccommoder les silences et les zones d’ombre. Comme on suit le droit fil pour construire un tissu solide, je tente de suivre le fil sensible de nos transmissions — affectives, culturelles, invisibles. Ce projet  interroge ce qu’on hérite malgré soi, ce qu’on choisit de garder, et ce qu’on peut transformer, ensemble, à la main.

melissa williams (newfoundland and labrador)

Melissa Williams is a playwright, theatre and dance artist from St. John’s, Newfoundland. She is a graduate of Memorial University’s Grenfell Campus Theatre Performance program and has spent nearly a decade studying and working in Toronto. Her work focuses on the exploration of womanhood, trauma, neurodivergence and queerness. Melding dance and theatre in her most recent years of creation, Melissa aims to create curiosity and consideration with her work, investigating what we fear most and questioning preconceived notions.

Photo credit: Ashley Harding

PLAY IN DEVELOPMENT: The Fever

FEVER follows W1, W2 and W3 on their journey of self-discovery and realization as they navigate an unfamiliar world causing them to question everything they know. Rooted in the deepest parts of our subconscious, the women muse over the things they wish they could forget, the things they wished they knew sooner, and the things they will never understand.

Logo of the Cole Foundation
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Call for Dramaturgical Collaboration Applications for 2026-2027

A light blue background of a brainstorming wall filled with posts it and photographs. On the top left, blue dots form a rectangle, with a turquoise dotted line passing through. On the top right, the PWM logo in blue. Beneath it, the words Call for Applications written in black. Beneath that, a blue circle, with another turquoise dotted line passing through. To the left, the word Dramaturgical in blue, and Collaboration in black.
Playwrights’ Workshop Montréal is now accepting applications for Dramaturgical Collaboration in our 2026-2027 season.

Application deadline: Sunday, September 14, 2025, 11:59PM EST.

All applicants will receive a response by the end of January 2026 informing them of the outcome of their application. Please note that some applications may require additional time following this period if external resources are required, but applicants will be informed of this in advance.

If you have any questions regarding accessibility, require assistance with your application, or would like to discuss alternative methods of applying and deadline flexibility, please contact Heather at accessibility@playwrights.ca. For accessibility information and video tours of our location, please click here.

The ASL video format of this section is viewable here.

About the Dramaturgical Collaboration program

Through Dramaturgical Collaboration, PWM offers playwrights and theatre creators across Canada an individually considered, dramaturgically-led process for playwrights and theatre makers to explore, question, and shape their work. Engage in deep explorations of form and process, regardless of your experience or background, or the current status of your project – whether you have an idea, a draft or a production on the horizon.

To remove financial barriers, the opportunities and resources offered through Dramaturgical Collaboration are free of charge to the artists.

As each artist and project is unique, Dramaturgical Collaboration begins with a PWM dramaturg meeting with the artist to consider how best to approach development, and to learn about the artist’s process, intentions, and creative vision. 

Developmental opportunities will include dramaturgical conversations and potentially, mentorships, workshops, technical or digital explorations, and residencies. Read more about the most common developmental opportunities we offer below, or visit our glossary of terms.

If you have any questions regarding Dramaturgical Collaboration, please contact dramaturg@playwrights.ca. 

Considerations for Dramaturgical Collaboration at PWM

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 PWM is committed to creating an environment where all individuals are treated with dignity and respect.  We are continuously working to make all of our programs accessible and inclusive. While recognizing that the identity of each person is fundamentally plural, and multidimensional, we strongly encourage applications from artists who are: Indigenous (First Nations, Métis, and Inuit), Black, POC, racialized (including recent immigrants), 2SLGBTQQIPAA+, d/Deaf, neurodivergent, disabled, living with chronic illness and/or chronic pain. PWM is strongly committed to supporting a wide range of cultural identities and lived experiences, therefore we encourage applicants to self-identify in their application if they are comfortable doing so.

Stage of Development: We accept applications for projects at various stages of development, depending on the nature of the work. This could include, but is not limited to, an initial idea, a first draft (in any form), a new iteration of a previously presented project, or a draft that is in an advanced stage of development.

Discipline: In addition to traditional scripts, we accept unique and interdisciplinary projects. This project could be a play, a non-text based performance, a digital work (for example: AR/VR, interactive game-based presentation, etc.), or something hybrid in terms of language, discipline, or technology.

Location: We welcome local and national applications. We work in-person, virtually (for example: by video chat or by use of online collaborative tools), or a combination of both.

Program Capacity: Developing new plays, performances and translations takes time, and PWM has numerous ongoing projects and programs. Therefore, we can only welcome a limited number of new collaborations per season despite receiving many inspiring applications. 

How to Apply for Dramaturgical Collaboration at PWM

The ASL video format of this section is viewable here.

Individual playwright/creator(s) can apply for Dramaturgical Collaboration via our Google form.  Theatre companies are asked to please contact dramaturg@playwrights.ca to discuss Dramaturgical Collaboration before submitting an application online.

Audio and video answers to some of the questions in the form are also welcomed. Click here to preview the form as a PDF.

The application will ask you to provide: 

  • Name, pronouns (optional), age (optional), and contact information 
  • Information about your project 
  • How you would like to work with PWM
  • Your CV and bio and that of any collaborators
  • A sample of the proposed project (if available) or past work 

Your proposal will not be sent until you click the SUBMIT button at the end of the application via the Google form. You will be able to edit your responses by reusing the same email address and login until you click the SUBMIT button. 

If you have any questions regarding Dramaturgical Collaboration please contact dramaturg@playwrights.ca.

If you have any questions regarding accessibility, require assistance with your application, or would like to discuss alternative methods of applying and deadline flexibility, please contact Heather at accessibility@playwrights.ca. 

Dramaturgical Collaboration Development Opportunities

Dramaturgical Collaboration begins with Dramaturgical Conversations and may continue to include one or a combination of the following opportunities, to be mutually determined by PWM and the playwright/creator(s) based on the needs of the project: 

Workshops: An opportunity to explore a work-in-progress with actors/collaborators in order to develop the project. Each workshop is led by a PWM dramaturg in collaboration with the playwright/creator(s). For text-based projects the script is read by a company of actors and the playwright and dramaturg will then have the opportunity to ask and explore questions with the company. For non-text based projects, the workshop is shaped around the elements that create and drive the narrative or event. Sometimes a private reading for invited guests is included, as an opportunity to introduce the work to an audience for the first time. The length of a workshop is determined by the needs of the project.

Residencies: As part of the Dramaturgical Collaboration, PWM may offer dedicated Studio time for exploration (not rehearsal) to a playwright/creator(s) developing a project with PWM. These residencies take place in our studio in Montreal, and are separate from our national residencies, the Gros Morne Playwrights’ Residency and the Glassco Translation Residency in Tadoussac.

Mentorships: Mentorships are designed to address specific needs during the early stages of the creation process. In collaboration with a PWM Dramaturg, the playwright/creator determines the person best suited to support them through this essential phase of development. The mentor may be an expert in a particular discipline, a creator from a similar or different scope of experience or a dramaturg with a particular field of experience.

A glossary of these and other terms can be found here.

Learn more about Dramaturgical Collaboration.

The Dramaturgical Collaboration program is made possible and accessible through the support of our funders:

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Introduction to Theatre Translation Call for Applications

A red background with a red pyramidal shape on the left side. The words Introduction to Theatre Translation written in white. On the right, the words Call for Applications written in white. Beneath it, the logos of PWM and CEAD.
The call for applications for the 2025-2026 Introduction to Theatre Translation is now closed. Subscribe to our newsletter to see all open opportunities.

Offered in partnership with le Centre des auteurs dramatiques (CEAD), this unique, one-on-one mentorship provides theatre artists an in-depth opportunity to begin developing their craft in the art of theatre translation. 

PWM provides a mentorship focused on French to English theatre translation. Details on the English to French mentorship can be found on the CEAD’s website.

Application deadline: Sunday, July 27, 2025, 11:59PM EST.
All applicants will receive a response by September 5, 2025. 

If you have any questions regarding accessibility, require assistance with this application, or would like to discuss alternative methods of applying, please contact accessibility@playwrights.ca.

About the Introduction to Theatre Translation program

PWM and le CEAD have worked in partnership for years to forge links between French and English language theatre communities, and in 2019, came together to design a program that would encourage and foster emerging skills in the art of theatre translation. 

The Introduction to Theatre Translation program, also known as Traductions Croisées, is an individual mentorship opportunity for a theatre artist with little or no prior translation experience. From September to February, one selected theatre artist will work with PWM on translating two excerpts from contemporary Québécois plays from French to English. Le CEAD will support another mentee translating from English to French. 

With the guidance of acclaimed playwright and theatre translator Alexis Diamond, the participant will receive 20 hours of dramaturgical support over the course of the mentorship. They will also have the opportunity to engage directly with the original playwrights to deepen their understanding of the texts. 

The mentorship will culminate in two workshops per excerpt (4 total), where professional actors bring the translations to life, providing experience hearing the translations read. The workshops will be spaced out to provide the mentor and mentee a chance to rework sections. 

Finally, the PWM and CEAD participants and mentors will meet for a presentation day at the PWM Studio to share their work, discuss the process, and reflect on their experiences.

Eligibility 

  • Be a Montréal-based theatre artist with a strong interest in French-to-English theatre translation;
  • Be a Canadian citizen or hold permanent residency status in Canada;
  • Have excellent writing skills in English and have fluent reading comprehension of Québécois French;
  • Have little to no experience in theatre translation;
  • Be available to take part in in-person workshops in January/February 2026.

PWM welcomes all applications. While recognizing that the identity of each person is fundamentally plural, and multidimensional, we strongly encourage applications from artists who are: Indigenous (First Nations, Métis, and Inuit), Black, POC, racialized (including recent immigrants), 2SLGBTQQIPAA+, neurodivergent, disabled, living with chronic illness and/or chronic pain. PWM is strongly committed to supporting a wide range of cultural identities and lived experiences, therefore we encourage applicants to self-identify in their application if they are comfortable doing so.

If you have any questions regarding accessibility, require assistance with this application, or would like to discuss alternative methods of applying, please contact Heather at accessibility@playwrights.ca.

How to Apply

If you are interested in applying, please fill out this Google Form by Sunday, July 27, 2025 11:59PM EST.  Audio and video answers to some of the questions in the form are also welcomed. 

You will be asked to provide the following information:

  • Your name, pronouns (optional), age (optional), and contact information ;
  • Confirmation that you are based in Montreal;
  • A brief bio of yourself and your experience as a theatre creator; 
  • A description of why you are drawn to the opportunity and in French-to-English theatre translation more generally;
  • Your goals for this mentorship and what you hope to accomplish from taking part;
  • A CV (2 pages maximum)

Incomplete applications will not be considered. Preview the application form as a PDF.

If you have any questions about the Introduction to Theatre Translation program, please contact dramaturg@playwrights.ca with the subject line: Introduction to Theatre Translation.

Schedule for Introduction to Theatre Translation 2025-2026

September 2025 – February 2026
20 hours of translation mentorship with translation mentor and meetings with playwrights.

January 7 – 15, 2026 (Exact dates TBD)
Two development workshops (one for each excerpt) with actors. 

February 15 – 24, 2026 (Exact dates TBD)
Second two development workshops (one for each excerpt) with actors. 

February 25 – 28, 2026 (Exact date TBD)
PWM and CEAD mentees and mentors meet at PWM Studio for culminating final reading and discussion regarding experience in the program. 

Mentor and mentee may choose to meet again in March, if both feel it would be beneficial. 

PWM Translation Mentor, Alexis Diamond

Based in Tiohtiá:ke / Mooniyang / Montreal, Alexis Diamond (she/her) is a theatre artist, opera and musical librettist, translator, dramaturg and theatre curator working in both English and French.

Since 2019, Alexis has been the English-language translation mentor for Traductions Croisées, a joint project run by Playwrights’ Workshop Montréal and the CEAD (Centre des auteurs.trices dramatiques). She was the first and only curator for English-language theatre for the francophone Festival du Jamais Lu from 2019 to 2022, facilitating translations of contemporary Canadian English-language texts into Québécois French. From 2018 to 2022, Alexis served as literary manager for a multiyear collaboration with professor Erin Hurley (McGill University) and Emma Tibaldo (then artistic director of Playwrights’ Workshop Montréal) researching the history of English-language theatre in Quebec. 

Alexis has translated award-winning plays by Audrey-Anne Bouchard and Marc-André Lapointe, Pascal Brullemans, Alexia Bürger, Marie-Hélène Larose-Truchon, Érika Tremblay-Roy and Marie-Claude Verdier for companies such as Geordie Theatre, Le Petit Théâtre de Sherbrooke, DynamO Theatre, Talisman Theatre, Theatre Direct, Théâtre Incliné, Bouche Theatre Collective and Playwrights Canada Press.  Alexis was a finalist for the 2020 Governor General’s Award for her translation of Pascal Brullemans’ plays for young audiences, Amaryllis and Little Witch (Playwrights Canada Press). Many of her works can be found at the Canadian Play Outlet. 

Alexis has a B.A. Honours in English and Creative Writing from Concordia University and an M.A. in English Literature from the Université de Montréal. Active with various local, provincial and federal arts organizations, Alexis has also served on several theatre and playwriting juries and reading committees and mentored other artists.


This mentorship is presented in partnership with:

Les activités de la formation continue du CFC sont soutenues par le programme Intervention-Compétences et grâce à la participation financière du gouvernement du Québec.

With financial support from:

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