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

Announcing the recipient of the Cole Foundation Competition for Emerging Translators

David Gagnon Walker

David Gagnon Walker was selected as the recipient of the 2019 Cole Foundation Mentorship for Emerging Translators.

David will be translating Gabrielle Chapdelaine’s La retraite with the dramatical support from Maureen Labonté.

 

David Gagnon Walker

David is a playwright, performer, dramaturg, and emerging translator from Edmonton working across Canada. His plays prioritize formal experimentation, integrating text-based drama with other modes of contemporary performance. They include: The Big Ship (winner of the 2018 Playwrights Guild of Canada RBC Emerging Playwright Award), Premium Content (Calgary, Major Matt Mason Collective, 2018), Pink Moon (winner of the 2017 Wildfire National Playwriting Competition, developed with Playwrights’ Workshop Montréal), Productive Time (Edmonton, Found Festival, 2017), One of Us Must Know (Edmonton, Chinook Series, 2016), and the libretto for the operetta Little Urban Green (Toronto Laptop Orchestra, 2015). Recent writing projects have focused in one way or another on the intersections of human experience, technology, and ecology. Devising new theatrical forms for staging this stuff in all its complexity is the core of David’s ongoing artistic search.

Dramaturgy includes The Observed Flight of Birds (Montréal, 2b Theatre/NTS, 2017), Trying to Listen While not Giving a Fuck, (Montréal, Surreal SoReal/Zone Homa, 2018), and the contemporary circus show Particle # B (Grenoble, France, 2018; 2019 tour to Australia and Finland). David’s translation of Jean Genet’s posthumously published play «Elle» received a public reading in 2017 with support from Maureen Labonté and the National Theatre School of Canada, and is in development with Toronto- based director Harrison Thomas. He also sometimes works as an actor and arts educator.

David is the 2019 RBC Emerging Artist-in-Residence with Halifax’s 2b Theatre Company. He holds an MA from the University of Toronto’s Centre for Drama, Theatre, and Performance Studies, and is in the final year of the playwriting program at the National Theatre School of Canada in Montréal.

Find him online at www.davidgagnonwalker.com

 

Cole Foundation Logo

REGISTER NOW: Grant Writing Workshop for Emerging Artists

Exploring Practice with Jesse Stong

Lire l’appel en français.

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

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

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

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

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

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

 

TRAINING MADE POSSIBLE BY

Emploi-Québec and Compétence Culture Logos

ANNOUNCING THE 2019 PARTICIPANTS

Who's going to Gros Morne 2019

Lire l’annonce en français.

Playwrights’ Workshop Montreal (PWM) and le Centre des auteurs dramatiques (CEAD) are pleased to announce the playwrights who were selected to take part in the 2019 Gros Morne Playwrights’ Residency in Newfoundland.

From April 17-28, Julie Tamiko Manning (QC)Meghan Swaby (ON)Robert Chafe (St. John’s), Yolanda Bonnell (ON)Rébecca Déraspe (QC), Royds Fuentes-Imbert (QC), and  Sébastien David (QC) will be staying at the Bonne Bay Marine Station located next to the Gros Morne National Park.

The Gros Morne Playwrights’ Residency brings French and English playwrights from across Canada together to write, dream, share and create. Headed by PWM and Le Centre des auteurs dramatiques (CEAD) in partnership with Creative Gros Morne, Memorial University of Newfoundland and the Cole Foundation, the program offers dramaturgy in both official languages.

Emma Tibaldo   Paul Lefebvre

The residency, hosted by Emma Tibaldo, Artistic Director of PWM, and Paul Lefebvre, Dramaturgic Counsellor at the CEAD, will give priority to an individual writing retreat while also offering group discussions, encounters, and public readings of work in progress.


THE PWM PARTICIPANTS

 

Julie Tamiko Manning

JULIE TAMIKO MANNING

Play in development: MIZUSHŌBAI

Julie Tamiko Manning is an award-winning Montreal actor and theatre creator. Selected acting credits include: Annie in Jean Dit, Elena in Butcher (Centaur), Isabella Bird in Top Girls (Segal), and Emilia in Othello (Scapegoat Carnavale). 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 finished touring Toronto and Vancouver. Her third play, Mizushōbai, commissioned by Tableau D’Hôte Theatre, is about Kiyoko Tanaka Goto, a Japanese picture-bride turned ‘underground’ business woman in 1930’s British Columbia.

Meghan Swaby

MEGHAN SWABY

Play in development: Breadfruit

Meghan Swaby is an actor and playwright born and raised in Toronto. Her play Venus’ Daughter was produced by Obsidian Theatre in 2016 and was recently included on The SureFire List (Playwrights Guild of Canada) as one of the top 23 recommended  plays in Canada. She has participated in various playwrighting programs over the years, such as; Nightwood Theatre’s Write from the Hip, Diaspora Dialogues Playwright Residency and The Stratford Festivals’ Playwrights Retreat. In 2017, Meghan was one of 50 playwrights selected to have their work included in, 50in50: Writing Black Women Into Existence which was curated by Dominique Morisseau at the Billie Holiday Theatre in Brooklyn, New York.

ROBERT CHAFE

Play in development: Everybody Just Calm the Fuck Down

Robert Chafe has worked in theatre, dance, opera, radio, fiction and film. His stage plays have been seen in Canada, the United Kingdom, Australia and in the United States, and include Oil and Water, Tempting Providence, Afterimage, Under Wraps, Between Breaths, and The Colony of Unrequited Dreams (adapted from the novel by Wayne Johnston.) He has been shortlisted twice for the Governor General’s Literary Award for Drama and he won the award for Afterimage in 2010. He has been guest instructor at Memorial University of Newfoundland, Sir Wilfred Grenfell College, and The National Theatre School of Canada. In 2018 he was awarded an honorary doctorate from Memorial University of Newfoundland. He is the playwright and Artistic Director of Artistic Fraud of Newfoundland.

YOLANDA BONNELL

Play in development: My Sister’s Rage

Yolanda Bonnell is a Queer 2 Spirit Ojibwe/South Asian performer and creator from Fort William First Nation in Thunder Bay, ON. Now based in Toronto, and a graduate of Humber College’s Theatre Performance program, Yolanda was named one of NOW Magazine’s Theatre Discoveries and most exciting artists to watch in Summerworks 2016.  Her solo show bug, completed a tour of the unceded Coast Salish territories, followed by a premiere in the Luminato Festival.  She was also a part of Factory Theatre’s The Foundry, a creation program for new career writers, where her play, Scanner continues to be developed. Yolanda also completed a season at the Stratford Festival as well as a residency at the Banff Playwright’s Lab with her most recent piece, White Girls in Moccasins. www.yolandabonnell.com

THE CEAD PARTICIPANTS

Rébecca Déraspe

RÉBECCA DÉRASPE

Play in development: Ceux qui se sont évaporés

Rébecca Déraspe completed the Playwriting Program at the National Theatre School in May 2010. She has written several plays that have been performed and translated around the world, including Deux ans de votre vie, Plus que toi, Peau d’ours, Gamètes, Nino, Je suis William, Le merveilleux voyage de Réal de Montréal, Partout ailleurs, and Nos petits doigts. She is also a member of Théâtre la Licorne’s playwright-in-residence program. She won the 2018 Critics’ Award for Best Young Audience Play for Je suis William, Best Script Montreal 2017 for Gamètes and the 2010 BMO Playwright Award for Deux ans de votre vie.

Royds Fuentes-Imbert

ROYDS FUENTES-IMBERT

Play in development: Taxidermie

Born in Havana, Royds Fuentes-Imbert completed a degree in Theatre at the University of Arts of Cuba (ISA) specializing in Dramaturgy and Directing before going on to teach theatre history and dramaturgy. A poet, playwright and director, he has published several French-language plays. He has been living in Montreal since 1997 where he pursues research in anthropology and theatre. He joined the faculty of the École supérieure de théâtre de l’UQAM in 2017, where he teaches, among other courses, a dramaturgy workshop focused on playwriting (Atelier de dramaturgie : Écriture dramatique) and a course on dramaturgy and theatrical poetry (Dramaturgie et poétiques théâtrales). He has since combined academic activities (teaching and research).

Sébastien David

SÉBASTIEN DAVID

Play in development: Fins et suites

A graduate of the Performance Program at the National Theatre School (2006), Sébastien David is also a playwright and director as well as Artistic Director of La Bataille, a theatre company specializing in the creation of new works. An award-winning playwright, he wrote T’es où Gaudreault précédé de Ta yeule Kathleen (2011), Les morb(y)des (2013), Les haut-parleurs (2015) as well as Dimanche napalm (2016), winner of the prestigious Governor General’s Award in 2017. All his works are published by Leméac Éditeur. He is on faculty at the Cégep de Saint-Hyacinthe Theatre School and is on the board of directors of several arts organizations.

 

The 2019 Gros Morne Playwrights Residency_Logos

 

CALL FOR APPLICATIONS: The 2019 Glassco Translation Residency

Lire l’appel en français : La Résidence de Traduction Glassco à Tadoussac 2019

Playwrights’ Workshop Montréal, in partnership with the Cole Foundation, is now accepting submissions for the 2019 Glassco Translation Residency. The residency will take place June 12-22, 2019 at Fletcher Cottage, home of the late Bill Glassco, in Tadoussac, Quebec.

The Glassco Translation Residency allows playwrights and translators from across Canada and beyond to come together for ten days in Tadoussac, Quebec, to work in-depth on their translation projects.

The chosen participants are provided with a unique opportunity to focus on their projects and to share expertise in a retreat environment. Translations into all languages are welcomed. Over the past 15 years we have supported translation projects into Cantonese, Catalan, Cree, English, French, Innu-aimun, Italian, Portuguese, Spanish, Tamil and Urdu . Award-winning translator and playwright, Bobby Theodore, will serve as residency host and translation dramaturg.

We are now accepting submissions of plays that are slated for translation. The play should ideally have had a production in its original language. At least one component of the project needs to be Canadian. We strongly encourage Indigenous artists to apply.

Please send us:

  • A description of the project which includes the name of the translator and playwright, an indication of how the Residency will benefit the project, and any details on production interest.
  • Biography of both the playwright and translator
  • A copy of the play in its original language

One of the selection criteria for translation projects will be the availability of both the playwright and the translator to attend the residency together.

An honorarium of $750 is offered to each participant. In addition, all costs for travel, meals and accommodation are covered. 

Submission deadline: April 1, 2019
Please email submissions (PDF format, 1 file only) to residency@playwrights.ca
Subject line: The 2019 Glassco Translation Residency

Accessibility details: The residency is in Tadoussac, Québec in an 18th century log home. There are 8 steps down to the entrance of the house. The bathrooms are not wheelchair accessible. Please contact Emma Tibaldo at emma@playwrights.ca with any questions or queries.


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