Announcing the Participants: EstérELLE Writers-in-Residence

Who's at EstérELLE?

Lire l’annonce en français.

Playwrights’ Workshop Montréal (PWM) in partnership with Anna Dupuis Zuckerman are pleased to announce the participants of the first-ever EstérELLE residency. Taking place from October 12 to 19, 2019, this week-long residency is focused on the development of new plays by English Language Québec female and female-identifying playwrights. The residence is located in Estérel, Quebec, where the playwrights will be offered the time and space to think, write, and exchange ideas in a quiet environment. PWM dramaturg Fatma Sarah Elkashef will be on site for dramaturgical consultation.

Find more information about the participants below.


THE PARTICIPANTS

 

ALEXIS DIAMOND

Play in development: Trixie Parker Finds a Boyfriend: The Musical

Alexis Diamond is a Montreal-based playwright, opera librettist, translator and theatre curator. Her award-winning plays, operas and translations for audiences of all ages have been presented across Canada, in the U.S. and in Europe. She also collaborates with several international artists on performance-installations involving text, movement and sound. In 2019, Alexis Diamond served as co-artistic director of the Jamais Lu festival, where she also presented a bilingual play, Faux-amis, with co-author Hubert Lemire, with support from the CALQ. In 2018, Alexis joined a multiyear project led by professor Erin Hurley (McGill University) on the history of Quebec’s English-language theatre.

 

 

CAITLIN MURPHY

Play in development: It takes a village. But the village is gone.

Caitlin is a writer, director and dramaturg based in Montreal. In addition to her work in theatre, she has written and directed short films, including Flushing Lacan and TOAST, which both won the Jury Award at the Montreal ACTRA Short Film Festival. She recently created a web-series called Mothers Try, which she wrote, directed and performs in. This past season, Caitlin made her professional directing debut with A Doll’s House, Part 2 at the Segal Centre, where she will direct Small Mouth Sounds in 2020 and is currently in her second season as Artistic Associate.

 

 

 

ÜLFET SEVDI

Play in development: Construction

Ülfet Sevdi is a writer, theatre director, dramaturge and Theatre of the Oppressed practitioner based in Montreal, Canada. She graduated from the Department of Fine Arts and Theatre at Mersin University, Turkey, in 2001. Her work deals with oral history, social narrative and is theoretically grounded in feminist theory and the social sciences. She was the co-founder and director of nü.kolektif (Istanbul, 2009-2014), an Istanbul based collective of multi-disciplinary artists working collaboratively on politically oriented performances and is the co-founder and co-director of Thought Experiment Productions (Montreal, 2015-). She is currently an Individualized Program Master student at Concordia University. Her mission is to present a reflection on some important socio-political contemporary themes. Her approach is highly conceptual, experimental and is theoretically grounded in the critical social sciences. One of her main concern is: how to make political art artistically satisfying and how to make aesthetics politically satisfying. Her last performance, Numbers Increase as We Count… (February 27-March 2, 2019, MAI) was very well received.

 

 

JULIE TAMIKO MANNING

Play in development: Mizushōbai (The Water Trade)

Julie Tamiko Manning is an award-winning Montreal actor and theatre creator. Acting credits include: Elena in Butcher (Centaur), Isabella Bird in Top Girls (Segal), and Emilia in Othello (Scapegoat Carnivale).
Her first play, Mixie and the Halfbreeds (with Adrienne Wong) was recently produced by fuGEN in Toronto and her second play, The Tashme Project (with Matt Miwa), a verbatim retelling of the Japanese Canadian internment experience, has recently been published by Playwrights Canada Press.
She is currently working on Mizushōbai, a commission for Tableau D’Hôte Theatre, about the life of Kiyoko Tanaka Goto, a pre-WWII Japanese picture-bride turned ‘underground’ business woman in British Columbia.

Apply Now: Writing and Devising For Puppetry With Clea Minaker

Lire cette annonce en français

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

Writing and Devising Puppetry: Interdisciplinary Approaches to Creation

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

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

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

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

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

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

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

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

How to Apply:

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

Biography of Clea Minaker

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

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

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

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

This workshop is presented in collaboration with:

Association québécoise des marionnettistes

Our exploring practice series is supported by:

Emploi-Québec and Compétence Culture Logos

Job offer: Communications Coordinator

Job Offer - Communications Coordinator
ORGANIZATION DESCRIPTION:

Established in Montreal in 1963, Playwrights’ Workshop Montréal (PWM) is a nationally-mandated theatre development centre led by a team of renowned dramaturgs and arts administrators. We are a bilingual non profit organization dedicated to collaborating with artists in the development of new works of theatre and performance. Read more about PWM’s mission and mandate at: www.playwrights.ca/about-us

JOB OVERVIEW:

PWM is currently seeking a part-time (20hrs/week) Communications Coordinator for an indeterminate term contract, beginning immediately.

Reporting to the General Manager, the Communications Coordinator is responsible for the coordination and execution of PWM’s marketing and communications strategies. The Communications Coordinator will create, produce and distribute materials using PWM’s communications channels and will monitor and maintain PWM’s website and social media platforms.

At this time, PWM is reviewing its communications platforms and marketing strategies (website, newsletter, social media, etc) with the assistance of three consultants who specialize in three distinct areas: 1)  SEO and communications analytics, 2) terminology of communications, the expression of programming and terms of engagement, and transparency of organizational operations through an equity lens and 3) the creation of artistic content for online engagement. The Communications Coordinator will contribute to the strategic thinking and planning during this process, and also assist with the implementation of findings.

SALARY, HOURS and BENEFITS:

The position pays $19/hour, payable in correspondence with net amounts after all standard employment deductions. The position includes 10 days (40 hours) of paid vacation during the period of December 23 to January 3 and 5 days (20 hours) of paid vacation during the month of July.

Working hours are 20 hours a week, on a schedule determined with the General Manager. When additional projects arise, the Communications Coordinator may be asked to work up to an additional 5 hours a week.

DUTIES AND RESPONSIBILITIES:
  • Write a variety of different content to support communications and marketing efforts, including newsletters, website, social media, brochures and press releases
  • Design promotional materials for PWM’s communication and marketing efforts that include images and or/video suitable for social media sharing, mailchimp, email and website
  • Design other communications materials such as posters, postcards, signage, letterhead, brochures, business cards, etc
  • Assist the PWM team in developing and implementing a communications strategy designed to further the organization’s objectives
  • Plan and execute social media campaigns
  • Manage, maintain and update PWM’s website
  • Manage and adhere to a Communications budget as given by General Manager
  • Manage and compile calls from the community that would benefit artists that PWM closely works with (i.e. Playwrights, Translators, Dramaturgs)
  • Track and promote PWM-developed plays once they go into production
  • Assist the General Manager in the creation and follow through of recognition and crediting contracts with PWM collaborators
  • Monitor analytics and create reports detailing the successes and failures of communications campaigns and strategies
  • Stay up to date on industry trends and make recommendations for adjustments to communications strategies and practices
  • Respond to media inquiries and maintain relationships with journalists and other members of the press
QUALIFICATIONS:
  • 3+ years experience in a communications or marketing role
  • Superior time management and organizational skills and ability to meet deadlines
  • An analytical mind and ability to think critically
  • Exceptional writing and interpersonal communication skills in both English and French
  • Experience in the design, execution and distribution of digital and print materials (posters, postcards, ads, etc)
  • Ability to work both independently and as part of a team
  • Knowledge of WordPress, SEO and Google Analytics
  • Knowledge of G Suite, MS Word, Excel and Powerpoint, Photoshop, and social media platforms
  • Knowledge of CiviCRM, HTML coding, photography, and video editing is an asset
  • Knowledge of email marketing software such as Mailchimp
  • Proven knowledge of communications and marketing ethics and best practices
  • Comfort with managing multiple projects at the same time and ability to adapt
EDUCATION:

Graduate of communications, marketing, and/or public relations program or equivalent.

APPLICATION:

Please email your Cover Letter and CV to Lesley Bramhill, gm@playwrights.ca, with the subject line “Application Communications Coordinator”. Please include one writing example (your choice of a press release, a brochure, a social media post, etc) and one digital or print design example (a poster, postcard, image that was shared online, etc). Applications should also include a minimum of 3 references.

Candidates must submit applications by 12 noon on  August 23, 2019. However, applications will be considered as they come in and interviews may be held prior to this date. Ideally, the selected candidate will begin training sometime the week of August 26, 2019 and take over the position as of the week of September 3, 2019.

Playwrights’ Workshop Montreal  is an equal opportunity employer and values diversity in its workforce, encouraging applications from all qualified individuals. We strongly encourage applications from members of equity seeking groups, including but not limited to:  those whose lives have been impacted by illness or disability*, BIPOC communities, LGBTQIIA+ communities, newcomers to Canada and from all groups who experience marginalization. We encourage applicants to self-identify in their cover letter if they are comfortable doing so.

We thank all applicants for their interest but only those selected for an interview will be contacted.

*please visit our website for accessibility information at PWM: www.playwrights.ca/accessibility

EstérELLE Writers-in-Residence

EstérELLE Writers-in-Residence

(Pilot Project)

When: October 12 to 19, 2019
Where: Estérel, Québec

PWM is proud to announce a new initiative in partnership with Anna Dupuis Zuckerman focused on the development of new plays by English Language Québec female and female-identifying playwrights. This seven-day residency is specifically tailored to support the development of work by mid-career playwrights, offering the time and space to think, write and exchange ideas in a quiet environment. The only scheduled events are meals and a daily late afternoon discussion session. Dramaturg Fatma Sarah Elkashef will be present for dramaturgical consultation.

Location: Peaceful, welcoming, spacious family home on Lac Dupuis in Esterel, part of the Laurentian mountains. As we approach one of the oldest stones on earth, the breath grows stronger, a wholeness, a peace settles. Memories and futures entwine, and stories reveal themselves.

Details:

– The residency will take place over seven days
– PWM Dramaturg Fatma Sarah Elkashef will be the residency dramaturg
– Focus on female and female-identifying mid-career English Language Québec playwrights
– Transportation, accommodations and food will be covered by the residency
– An honorarium will be given to each selected participant
– The menu is vegetarian, but can accommodate fish
– The residency is designated sober-living and scent-free
– No pets are allowed
– Accessibility: Uneven cobblestone driveway (not wheelchair accessible).

Accommodation details: Each participant will have a private room and quiet workspace. There are 2 shared bathrooms for 5 artists.

 

SUBMISSION GUIDELINES

Submission deadline: August 1, 2019
Notification of selected projects: August 16, 2019

In a single PDF file please send us the following:

– A short description of your project.
– A short explanation of how a 7-day writers residency would benefit the project and your work as a writer.
– A ten page sample of the play (maximum).
– A bio and CV.

Subject line of the email: EstérELLE Writers-in-Residence
Email: residency@playwrights.ca
For accessibility inquiries please contact Heather Eaton: heather@playwrights.ca, 514-843-3685

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

by Harris Frost

Lire la page en français.

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

 

PWM: How exactly were the 10 days structured?

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

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

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

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

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

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

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

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

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

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

 

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

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

ANNOUNCING THE 2019 PARTICIPANTS

Who's at Tadoussac?

Lire l’annonce en français.

From June 12 to 22, Playwrights’ Workshop Montréal, in partnership with the Cole Foundation, and with the support of donations in the memory of the great Canadian theatre artist, Bill Glassco, will host the 16th edition of the Glassco Translation Residency, taking place in breathtaking Tadoussac, Québec. 

Under the mentorship of award-winning dramaturg Bobby Theodore, playwrights and translators will immerse themselves in an extraordinary 10-day retreat, creating new translations of works that will be produced on stages across the country.

This year’s residency welcomes four Canadian plays that will be translated into three different languages that include English, French, and Tagalog.

THE PARTICIPANTS

Play to be translated (English into French):
One Discordant Violin

MARYSE WARDAMARYSE WARDA, TRANSLATOR

Maryse was born and raised in Egypt. In 1991, Pierre Bernard, artistic director of Théâtre de Quat’Sous, gave her a first shot at translation – Cindy Lou Johnson’s Brilliant Traces.

Since then, she has translated more than 60 plays. She was instrumental in bringing the works of English Canadian writers such as George F. Walker (Suburban Motel cycle), John Mighton (Possible Worlds and Half Life), Daniel Brooks (Insomnia), and Morris Panych (Vigil) to francophone audiences. She has also translated works from American and British playwrights such as Howard Barker, Margaret Edson, David Greig, David Hare, David Mamet, and Philip Ridley. Her translations are celebrated for being faithful to the original, while making effective yet unostentatious use of the Quebec idiom. Her translation of Walker’s Suburban Motel series earned her a Masque award in 2000 from the Académie québécoise du théâtre. In 2011, her translation of Greg MacArthur’s The Toxic Bus Incident earned her a Governor General’s Literary Award.

In 2018-2019, she did the translations of Erin Shields’ Unit B17-17, Harold Pinter’s Betrayal, Simon Stephens’s The Curious Incident of the Dog in the Night-Time, Tom Schulman’s Dead Poets’ Society, and Willy Russell’s Educating Rita, among others. Many of her translations have benefited from the Tadoussac residency, such as Douglas Maxwell’s Promises, Promises.

 

ANTHONY BLACKANTHONY BLACK, PLAYWRIGHT

Anthony ​is a versatile artist who for 20 years has worked as a writer, director, actor, designer and as artistic co-director of Halifax’s internationally acclaimed 2b theatre company.

His projects with 2b include: ​Invisible Atom​, (writer/ performer) which toured for over a decade across Canada and around the world, in both English and French; ​When it Rains,​ (writer/ director/ performer), which has played across Canada and around the world- he also directed a Spanish Language version of the show in Buenos Aires; Homage​ (writer); The Observed Flight of Birds (co-director/ lead writer);​ Unconscious at the Sistine Chapel​ by Michael MacKenzie (director); ​Rebecca Reads Nora Reads Molly – text by James Joyce (concept/ direction) ​The Story of Mr. Wright​ (co-director/ co-creator);​ One Discordant Violin​ (based on a short story by Yann Martel – adaptor/ do-director/ performer/ set design)

Anthony’s work has won awards and critical acclaim around the world and has traveled to some of the world’s most prestigious arts festivals and venues, in cities across Canada.

Anthony is leader in the artistic community in Nova Scotia, mentoring artists, advocating for the sector, and provoking artistic discussion through 2b’s Colloquium series – a program dedicated to fostering better conversations about art-making. 


Play to be translated (French into English):
Dehors

LEANNA BRODIELEANNA BRODIE, TRANSLATOR

Leanna Brodie is a Vancouver-based writer, actor, and the translator of numerous Québec playwrights, including Hélène Ducharme (whose Dora-winning Baobab continues to tour internationally after more than 600 performances), Catherine Léger, Louise Bombardier, Larry Tremblay, and Christian Bégin (5 Vancouver Jessie Award nominations and two wins for Ruby Slippers Theatre’s After Me). You Are Happy, Opium_37, and My Mother Dog are published by Playwrights Canada Press. Her translation of Olivier Sylvestre’s The Paradise Arms was the winner of the 2018 Safewords National New Play Prize.

Current projects include: Rébecca Déraspe’s Gamètes; Philippe Soldevila’s Tales of the Snow; David Paquet’s Wildfire and The Shoe; and Olivier Sylvestre’s Le Désert. The 2019-20 season will see the world English-language premieres of Sébastien Harrisson’s From Alaska and one other play (yet to be announced) in Vancouver, as well as productions in Edmonton, Saskatoon, Toronto, Chicago, and Montréal.

Brodie’s own plays and operas have been produced across Canada as well as in the UK, USA, and New Zealand, and on CBC Radio. She is currently an Associate at Playwrights Theatre Centre, co-writing Salesman in China (a play about Arthur Miller directing Death of a Salesman in Beijing in 1983) with Jovanni Sy.

 

GILLES POULIN-DENISGILLES POULIN-DENIS, PLAYWRIGHT

Originally from Saskatoon, Saskatchewan, Gilles is an actor, playwright, director, translator and dramaturg. His first full-length play Rearview was presented in both French and English versions in Sudbury in the fall of 2016. This was Rearview’s third production, after being produced in Saskatoon in 2009 and Brussels in 2013. Rearview is published by Dramaturges Éditeurs and was nominated in 2010 for the Governor general’s literary arts award. Wajdi Mouawad named Gilles as one of the resident playwrights at the National Arts Centre’s Théâtre français from 2008 to 2012, where he developed his play Dehors. Dehors was published by L’Instant-Scène in 2017. Gilles has collaborated on numerous devised pieces such as ishow, Après la Peur and Gabriel Dumont’s Wild West Show. Gilles is the artistic director of Productions 2PAR4 and currently lives in Vancouver.

 

 


Play to be translated (French into English):
Fiel (Venom)

NADINE DESROCHERSNADINE DESROCHERS, TRANSLATOR

Nadine’s translations include four plays by Sarah Berthiaume, two of which, The Flood Thereafter (also, Talisman Theatre, 2010) and Yukonstyle (published by Playwrights Canada Press, 2014 and produced by Talisman Theatre in 2016) were part of the 2013-2014 season of Canadian Stage. She has also translated two plays by Marilyn Perreault, Rock, Paper, Jackknife… (Talisman Theatre, 2009 and Playwrights Canada Press, 2010) and Bus Stops (Théâtre I.N.K. at Centaur Theatre, 2016) and created supertitles for a third, Fiel (Venom). Her other translations credits include Billy (The Days of Howling) by Fabien Cloutier (Talisman Theatre, 2014; A Play, A Pie and a Pint, Traverse Theatre/Òran Mór, Scotland) and L’effet Médée (The Medea Effect; hotINK festival, New York, and Talisman Theatre, 2012), by Suzie Bastien, which won the 2013 META prize for Best New Translation.

 

MARILYN PERREAULTMARILYN PERREAULT, PLAYWRIGHT

Marilyn Perreault is an actor, writer, and director, as well as the co-artistic director of Théâtre I.N.K. and Théâtre Aux Écuries. She has directed Fiel, Jusqu’au sang ou presqueLignedebus, and La beauté du mondeHer works include Fiel, Lignedebus (Bus Stops), Britannicus Now (Louise-LaHaye award winner produced by le Théâtre du Double signe and performed 76 times as well as published by Lansman Éditeur), Roche, papier, couteau… (published in French by Lansman Éditeur and in English as Rock, Paper, Jackknife… by Playwrights’ Canada Press and produced by Talisman Theatre), Les Apatrides (published by Dramaturges Éditeur), Nobridgetown, and Entre A et C il y a B. She has also written dialogue for the Théâtre de la Dame de cœur. Les Apatrides, presented during the FTA in 2005, received the Masque Révélation de l’année. Bus Stops has had 62 performances, in French at Théâtre Aux Écuries and at the Frontenac and Ahuntsic Maisons de la culture, and in English at the Centaur Theatre and the NDG Maison de la culture. It was also nominated for the META Best Production award.

 


Play to be translated (English into Tagalog):
A Taste of Empire

CARMELA SISONCARMELA SISON, TRANSLATOR

Carmela is a Filipino-Canadian artist based in Vancouver. She graduated from the University of Alberta’s esteemed BFA Acting program in 2010 and has since worked with various companies in Western Canada. Select theatre credits include Miss Bennet: Christmas at Pemberley (Arts Club Theatre), The Two Gentlemen of Verona, The Merchant of Venice (Bard on the Beach), A Christmas Carol (Western Canada Theatre), Dead Metaphor (Firehall Arts Centre), Sultans of the Street (Carousel Theatre), Vanya and Sonia and Masha and Spike (The Belfry Theatre), Consent, Are We There Yet?, Paper Song, Under Cover, The Bully Project (Concrete Theatre), Much Ado About Nothing (Theatre Calgary), Cowboy vs. Samurai (Chromatic Theatre). Her 15 minute play, Lolo’s Soup, was workshopped as part of The Sprouts Festival by Concrete Theatre in Edmonton, AB in 2012.

In 2016, Carmela was the Associate Artist at The Firehall Arts Centre where she served as artist liaison, community outreach development coordinator, and audience outreach coordinator. From 2017-2018, she was a co-producer of The Virago Play series (now Killjoy Theatre), which develops new plays by female identified or non-binary playwrights. In 2018, she took on the position of Interim Venue Coordinator for Boca del Lupo and is currently the Front of House Coordinator and Social Media Manager.

 

JOVANNI SYJOVANNI SY,  PLAYWRIGHT

Jovanni is an actor, playwright, and director. From 2012 to 2019, he was the Artistic Director of Gateway Theatre. At Gateway, Jovanni directed productions of Harvest by Ken Cameron, Closer Than Ever by Richard Maltby Jr. and David Shire, Valley Song by Athol Fugard, and Yoga Play by Dipika Guha. He acted in the world premiere of Lauren Yee’s King of the Yees. And Jovanni also wrote Nine Dragons (Winner of a Jessie Richardson Award for Outstanding New Play).

Prior to Gateway, Jovanni was the Artistic Director of Cahoots Theatre Projects. In 2010, his one-man play, A Taste of Empire, was nominated for two Dora Mavor Moore Awards including Outstanding New Play. A Taste of Empire was subsequently remounted by Boca del Lupo Theatre in Vancouver in 2014 and 2015. Later, with the assistance of the Glassco Translation Residency in Tadoussac (2016), Derek Chan translated A Taste of Empire into Cantonese. Rice and Beans Theatre produced 食盡天下 and it was nominated for a 2018 Dora Mavor Moore Award.

Jovanni’s directing credits include Sarena Parmar’s The Orchard (After Chekhov) for Arts Club Theatre; God of Carnage, Antigone, and Blackbird (Theatre du Pif in Hong Kong); and Clifford Cardinal’s award-winning play Stitch for Native Earth Performance Arts.


The Glassco Translation Residency in Tadoussac is made possible through our partnership with the Cole Foundation’s Intercultural Conversations Program, the dedication of Residency Producer Briony Glassco, and the support of donations in the memory of the great Canadian theatre artist, Bill Glassco. We are also grateful to Canada Council for the Arts, the Conseil des arts et des lettres du Québec, and the Conseil des arts de Montréal for their ongoing support.

IN PARTNERSHIP WITH

Cole Foundation Logo