Playwrights’ Workshop Montréal announces the upcoming departure of Executive & Artistic Director Emma Tibaldo

It is with gratitude for her dedication to the organization and the theatre community, that our Board of Directors announces the upcoming departure of long-standing Executive and Artistic Director Emma Tibaldo. After 13 years at the helm of the organization pushing the boundaries of dramaturgy, Emma will make way for a new generation of leadership.

“Emma’s impact on the Canadian theatre stage is immeasurable. At Playwrights’ Workshop Montréal, she has collaborated with hundreds of artists and spearheaded the development of innovative works across the nation. Her tireless dedication to supporting artists and bringing unheard stories to life is a true inspiration,” says Board President Naïma Kristel Phillips. “I particularly appreciate Emma’s ability to build community and make artists feel at home. Along with the team at PWM, she has created a space that welcomes and celebrates the voices of creators who might otherwise be overlooked. We see this leadership transition as an opportunity to build on Emma’s legacy and continue to delve deeper as PWM leaps into the future.”

Emma stepped into the Executive and Artistic Director role in early 2008. During her time at PWM, she successfully transformed the organization from a member-based service organization to a nationally-mandated theatre development centre, further expanding its mandate to support interdisciplinary performance. Emma has worked with playwrights from across the country, building lasting dramaturgical relationships, and bringing countless new Canadian works to life. She continued to grow PWM into an organization dedicated to discovery and experimentation. 

As Artistic Director, Emma established the Résidence d’écriture théâtrale de Gros Morne, in collaboration with the CEAD, bringing French and English playwrights together to write, dream, share and create, and the EstérELLE residency, focused on the development of new plays by English Language Québec female playwrights. Emma is a staunch supporter of theatre translation, further developing the Résidence de Traduction Glassco à Tadoussac which, to date, translated 63 plays for the stage, and launching the Mentorat pour traductrices et traducteurs émergents de la Fondation Cole, set up to identify and mentor the next generation of translators. 

“Sometimes you just need to leap into the unknown—now is that time for me.” Emma says, “I made this decision knowing that the organization was ready for new leadership. The company has grown, the process of dramaturgy has deepened, and the studio has finally come to completion. The relationships I have developed while at PWM have inspired and sustained me. I am incredibly grateful to our General Manager Lesley Bramhill, Dramaturgs Fatma Sarah Elkashef, Jesse Stong, and Maureen Labonté, our incredible staff-current and past, tireless board, and the innumerable artists and community members who have all carried PWM with me. Thank you. Deeply. PWM is the sum of the incredible humans who have called it home. I can’t wait to see what happens next. Magic exists, because creators dare to dream.”

Just last year, Emma was the recipient of the Elliott Hayes Award for Outstanding Achievement in Dramaturgy. This prestigious accolade demonstrates that the international community, too, took notice of the work she accomplished during her tenure at PWM.

On Emma’s time at the organization, Lesley Bramhill, PWM’s General Manager says: “Emma’s dedication for emerging and established artists alike is remarkable. I will continue to be inspired by her leadership, passion and care. As PWM’s GM, I witnessed the impact she made on our local and national theatre community. The organization Emma nurtured for over a decade is growing strong, and we at PWM are so grateful and honoured to continue the legacy of her work.”

Further details about the next stage of Playwrights’ Workshop Montréal’s leadership will be announced in the coming weeks. A leadership search is currently scheduled for late spring-summer 2021. The Board of Directors is working together with Emma on a transition plan taking into account her current dramaturgical relationships at PWM, and providing for moments for her to return as a dramaturg in 2021-2022, and beyond. 

In the meantime, a huge thank you to Emma and the staff for their commitment to PWM, their accomplishments, and the growth we experienced under her leadership. She has all of our love to carry into the next chapter of her career. 

Our position against anti-Asian racism

Stop Asian Discrimination

Playwrights’ Workshop Montréal condemns anti-Asian systemic racism and all forms of racist violence against Asians, Asian-Americans, Asian-Canadians.

Since the start of the COVID-19 pandemic, anti-Asian rhetoric has escalated in North America, as we witnessed racially-motivated hate crimes all over Canada and the U.S. In Montreal alone, police recorded 22 crimes specifically targeting Asian people between March and December of last year — 19 more than the year before. In Vancouver, anti-Asian hate crime incidents rose by 878% compared to last year, from 9 to 88. And this does not take into consideration the cases of aggression against the Asian community that have not been reported to authorities. 

Playwrights’ Workshop Montréal joins the thousands of people who marched in downtown Montreal last Sunday to honour the lives and grieve the losses of Xiaojie Tan, Delaina Ashley Yuan, Paul Andre Michels, Daoyou Feng, Soon Chung Park, Hyun Jung Grant, Suncha Kim and Yong Ae Yue.

We stand in solidarity with our Asian community members – artists, workers, audiences and friends, whose contributions make our work possible. We express our unwavering support for the work needed to create a safe and inclusive environment in the Montreal theatre community, and stand with all creators fighting for social justice and equity.

Finally, Playwrights’ Workshop Montréal condemns the Quebec government’s continued denial of systemic racism in Quebec, as voiced by Premier Francois Legault in 2020 et à recently by the newly appointed Minister Responsible for the Fight Against Racism, Benoît Charette. PWM will be following the work of Quebec’s anti-racism committee critically.  


We also encourage our community members of all backgrounds, but especially those who benefit from racial privilege, to educate themselves on the long history of systemic anti-Asian racism in Canada. Folks wishing to learn more and contribute to local resources are invited to look at the list below.

Report a racist incident, consult anti-racism education resources, and celebrate Asian-American people at Act2endracism.

Visualize the spectrum of experiences felt across Asian Canadian communities during the COVID-19 pandemic by visiting covidracism.ca. The documentation collected through the project will inform future efforts for collective action against anti-Asian racism and xenophobia.

Read the resources put together by Project 1907, a grassroots group made up of Asian women seeking to elevate underrepresented and undervalued Asian voices in mainstream political, social and cultural discourse, including amplifying the voices of women.

Peruse the Represent Asian Project, a website celebrating, advocating and elevating Asian representation in various fields.

Participate in the bilingual Facebook group Groupe d’Entraide Contre le Racisme Envers les Asiatiques au Québec, a platform for mutual aid. The group advocates informative and constructive exchanges.

Scaffolded Anti-racism resources (an extensive list of resources organized by stage).

Anti-racism resources for white people (another comprehensive list of resources).

POSTULER MAINTENANT : Bâtir votre demande de subvention avec Jesse Stong

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

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

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


Calendrier :

(2-part group session)

Part 1 – Wednesday, May 5th
10am-2pm

Part 2 – Thursday, May 6
10am-2pm

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

Location:

L'atelier se déroulera à distance via un logiciel de visioconférence.

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


Topics Covered

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

Expectations

  • Please come to the workshop with a project/residency idea they are genuinely interested in developing a grant proposal for (the idea can be fully developed or a seed of a new project)
  • Be prepared to support the ideas of others/contribute to the group discussions.
  • Expect to leave with a clear plan to complete your grant application.

Comment postuler

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

À propos de la formatrice

Headshot photograph of Jesse Stong
Photo by Nasuna Dawn

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

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

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

Presented in collaboration with
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Cet atelier est soutenu financièrement par
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Mise en lecture de Behaviour

Poster for the play Behaviour. A collage of photographs representing a woman is on the forefront of a pastel background on which we can discern a city skyline
À venir les 20 et 21 mars prochains, assistez à la mise en lecture de Behaviour, produite par Playwrights’ Workshop Montréal et présentée par le Centre Segal des arts de la scène!

Une exploration des genres, du pouvoir, du travail et de leurs abus, Behaviour, écrit par Darrah Teitel et mis en scène par Emma Tibaldo, sera lu sur place au Centre Segal les 20 et 21 mars, et diffusée en direct sur internet. 


Dates

Samedi 20 mars 2021 à 17h.
Rediffusion à 20h.

Dimanche 21 mars 2021 à 16h.

Billets

Tous les billets sont à prix libre.

Un don sera fait au Native Women’s Shelter of Montreal et à Chez Doris correspondant au montant collecté via la vente de billets.


« L'une des pièces en réponse au mouvement #MeToo les plus intelligentes »

– Kelly Nestruck (The Globe and Mail)

« L'une des pièces actuelles les plus importantes, les plus puissantes, les plus traumatisantes et tout simplement essentielles. »

– Ryan Pepper (Capital Critics Circle)

« Behaviour dérange et nous oblige à nous remettre en question vis-à-vis des structures existantes. »

– Patrick Langston (ArtsFile)

Behaviour est l’histoire de Mara, une femme qui semble vivre son rêve : elle a une carrière en politique où elle fait la différence, et elle est amoureuse d’un artiste défiant les normes. Mais ce qui se cache derrière cette façade est dévastateur. Avec humour, précision et une honnêteté implacable, Behaviour dissecte ce que nous considérons comme normal. La pièce remet en question notre acceptation des structures existantes, explorant les interactions entre pouvoir et abus. Behaviour reflète le monde tel que nous le vivons, où dénoncer les abus sexuels est anormal.

Cette pièce arrive à un moment crucial du démantèlement des hiérarchies au travail et entre les sexes. La pièce de Teitel se passe sur la Colline, où les travailleurs sont particulièrement vulnérables aux abus de pouvoir. Behaviour s'attaque à la normalisation du silence contre les situations abusives, au point que Teitel dit : « ce qui est anormal, c'est d'en parler ». Cette lecture est donc une tentative de prononcer à voix haute ce qui reste généralement non-dit.

The play premiered at the Great Canadian Theatre Company, co-produced with SpiderWebShow. The script was developed in collaboration with Playwrights’ Workshop Montréal through a variety of programs, including the Gros Morne Playwrights’ Residency.

À propos de l'auteure

Headshot portrait of Darrah Teitel

Darrah Teitel est une socialiste canadienne et une auteure dramatique, vivant actuellement à Berkeley en Californie en tant qu'artiste en résidence 2020 de Peleh International. Ses crédits les plus récents comprennent The Omnibus Bill (Counterpoint Players, May 2019) Behaviour (GCTC, 2019) Corpus (Teesri Duniya 2014, Counterpoint 2014) The Apology (Alberta Theatre Projects 2013, Next Stage Festival 2011) Marla’s Party (SummerWorks 2008) la pièce radiophonique CBC Palliative (2007) She Said Destroy (École nationale de théâtre du Canada, 2007). Darrah était l'auteure dramatique en résidence du GCTC en 2015 et 2017, où elle a écrit ses deux dernières pièces. Son journalisme, sa fiction et sa poésie ont été publiés dans divers périodiques et revues à travers le pays. Darrah est lauréate de plusieurs prix, dont le Canadian Jewish Playwrighting Award 2011 et le Canadian Peace Play Prize 2007. Ses pièces ont reçu des nominations pour les prix Dora, Betty Mitchell, Rideau et META Prizes for Outstanding New Plays. Darrah travaille également pour Action Canada pour la santé et les droits sexuels et est un membre fondateur de la Coalition Courage ainsi qu'une fière membre des Independent Jewish Voices. 

À propos de la metteure en scène et dramaturge

Headshot portrait of Emma Tibaldo
Photo par Bernardo Fernandez

Emma Tibaldo est devenue directrice artistique et exécutive de Playwrights ’Workshop Montréal début 2008. En 2020, elle a reçu le prix Elliott Hayes pour réalisation exceptionnelle en dramaturgie.

En plus de collaborer dramaturgiquement à des pièces par le biais de son travail à PWM, elle a mis en scène de nouvelles pièces canadiennes à travers le pays, telles que Winter’s Daughter de Jesse Stong, SCUM: A Manifesto de S.E. Grummett et Caitlin Zacharias, Okinum d'Emilie Monnet (co-metteur en scène), Miss Katelyn’s Grade Threes Prepare for the Inevitable d'Elena Belyea, The Baklawa Recipe de Pascale Rafie, Refuge de Mary Vingoe, Falling Trees de Megan Coles, Model Wanted de Step Taylor. En 2005, elle a cofondé le Théâtre Talisman pour lequel elle a dirigé la production primée That Woman de Daniel Danis, Down Dangerous Passes Road de Michel Marc Bouchard, et The Medea Effect de Suzie Bastien. Elle vient de terminer Skin, une nouvelle performance avec la compagnie interdisciplinaire The Bakery, diffusée en direct lors du Centaur’s Wildside Festival en janvier 2021.

Elle va bientôt co-mettre en scène une pièce radiophonique pour le théâtre Imago, Ringtoned'Audrey Dwyer.

Elle a été artiste invitée à l'École nationale de théâtre et à l'Université Concordia. Emma est diplômée du département de théâtre de l’Université Concordia et du programme de mise en scène de l’École nationale de théâtre du Canada.

Elle fait vivre son punk-rockeur intérieur (et extérieur) en jouant dans le groupe familial The Tibaldos et à The Dépanneurds.

Équipe technique et artistique

Amelia Sargisson

Headshot portrait of Amelia Sargisson

Mara

Victor Trelles

Headshot portrait of Victor Andres Trelles Turgeon

Evan

Erin Shields

Headshot portrait of Erin Shields

Jordan

Felicia Shulman

Headshot portrait of Felicia Shulman

Lydia | iTrance | Police

Emily Soussana

Headshot portrait of Emilie Soussana

Conceptrice de production

Luciana Burcheri

Headshot portrait of Luciana Burcheri

Régisseuse

potatoCakes_digital

Collectif de dramaturgie digitale

Présenté par
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Digital Dramaturgy Initiative — Apply to the Montreal residency

Logo of the Digital Dramaturgy Initiative on top of Montreal skyline
Playwrights’ Workshop Montréal is now accepting applications for a week-long residency, within the Digital Dramaturgy Initiative, to take place from April 26th to May 1st, 2021

WHAT IS THE DIGITAL DRAMATURGY INITIATIVE?

Following the first iteration of the project at the Blyth Festival pre-pandemic, the Digital Dramaturgy Initiative (DDI) is a collaboration between Playwrights’ Workshop Montréal, Playwrights Theatre Centre, Manitoba Association of Playwrights and the Blyth Festival.

Logo of the Digital Dramaturgy Initiative

The pandemic has accelerated our use of digital tools.  However, knowledge and financial gaps are still with us. With this reality in mind, we designed three locally based residencies designed to investigate and expand our collective vocabulary with digital technology.

These three distinct week-long residencies have been designed to allow for a deep investigation and articulation of two main questions:

  1. Where are the literacy gaps in managing the processes and systems in the integration of digital components?
  2. How to best organize creative relationships to maximize expertise in the collaboration process?

THE MONTREAL RESIDENCY

Covid and its impact on live arts : how do we share and grow work in process. 

APRIL 26 – MAY 1, 2021

Creating theatre inside a pandemic – how to use the tools available, what is possible, and what have we learned so far? How can we use this knowledge to create a more accessible platform for theatre? What can we take back into live theatre?

Organized by Playwrights’ Workshop Montréal, the Montreal residency is looking for theatre performance projects that were conceived for the stage but that now need to be transformed for a digital audience; as well as projects conceived for the new Digital reality. The project may be at any point in the process of creation.

The residency will focus on working with collectives or individuals to discover the possibilities available for the transformation of the work through technology, to a digital platform. This project is funded by the Canada Council for the Arts Digital Literacy Fund, as such, an important component of the work is the dissemination of knowledge and expertise. To this end, applicants must be willing to share parts of their creative process and knowledge gained through the residency. DDI and participants will negotiate fair Intellectual Property rights for educational, non-commercial dissemination of exploratory work undertaken during the residency, an example of which can be found ici.

Auxiliary programming over the course of the workshop week will include collective investigations into both traditional and emerging digital tools and technologies, exploring the vocabulary needed to collaborate in digital integration and exploration, and looking at case studies from Canadian and international initiatives.  

Each participating artist will receive a $750 honorarium and is expected to be available for the 5 days of the residency.

We are continuously working to make all of our programs accessible. We recognize that the identity of each person is fundamentally plural, multidimensional, changing and evolving.
We are committed to working with artists to create spaces within which Indigenous artists (First Nations, Métis, and Inuit), racialized artists (including recent immigrants), members of the 2SLGBTQQIPAA+ communities and/or neurodiverse and disabled artists as well as artists living with chronic illness and chronic pain can create.

APPLICATION PROCESS

To apply, please complete the online application form. During the application process, you will be asked to include the following:

  • A description of the project (max. 500 words);
  • An artistic statement in relation to the integration of digital tools;
  • The names of the project’s collaborators, and their creative disciplines;
  • The stage of the work in progress;
  • Your dramaturgical questions being investigated, or what you are investigating;
  • The technologies you are presently using for the project (if any);
  • The technologies you wish you had access to for this project (if known);
  • The knowledge gaps (if you know them) in relation to transforming the work to a digital platform;
  • Any documentation you deem appropriate to the project, sending video files as links.

Audio or video applications are welcomed.

The deadline to submit applications is March 8, 2021 at 5:00PM EST. All applicants will be notified of the results. 

This project is a partnership between
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PROJECT SUPPORTED BY THE CANADA COUNCIL FOR THE ARTS
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Tanha Gomes est l'artiste du programme d'accompagnement jumelé PWM+MAI

Playwrights’ Workshop Montréal et le MAI (Montréal, Arts Interculturels) sont ravis d'annoncer la saison inaugurale de leur accompagnement jumelé aux artistes intéressé.e.s par une collaboration avec un.e conseiller.ère dramaturgique avec l'artiste Tanha Gomes et son projet Couronnes de cendres !

L'ARTISTE

Headshot of artist Tanha Gomes
Photo par Daniele Barroso

Artiste visuelle et travailleuse culturelle, Tanha Gomes a travaillé dans plusieurs centres d'artistes et galeries d'art à Montréal. Depuis 2011, elle participe à des initiatives qui font découvrir l'art à des personnes de tous âges.

Née dans une famille multiculturelle au Brésil, elle a déménagé au Canada à l'adolescence et vit depuis entre ces deux mondes. Son expérience de l'immigration l'amène à explorer les liens entre le déplacement, la mort et la mémoire. Fascinée par les traces de l'histoire personnelle sur les corps et les trajectoires des gens, elle utilise la photographie pour mener des explorations intimes et délicates de l'identité. Elle cherche à créer des œuvres contemplatives en utilisant le temps comme matière première, souvent avec de longues expositions qui exigent que les corps restent immobiles. Les images de Tanha sont marquées par un aspect performatif, par de simples empreintes ou une promesse de mouvement. Récemment diplômée d'une maîtrise en éducation des arts, elle aspire à développer sa pratique artistique autour de l'identité culturelle.

LE PROJET

Exploration des liens entre mémoire, absence, rituel et deuil, Couronnes de cendres consistera en une installation vidéo et photo nourrie par une série d'ateliers créatifs avec le public. L'installation plonge le spectateur dans une vidéo multicanale d'une durée de plus d'une heure, jouée en boucle, accompagnée d'une murale de photos des objets réalisés lors des ateliers. 

L’histoire des couronnes

Le projet est inspiré d'une histoire racontée à Tanha par sa mère. Suite au décès d'un jeune cousin dans les années 50, les femmes de la famille ont commencé à rendre régulièrement hommage à leurs proches décédés en confectionnant des couronnes funéraires à partir de fleurs en plastique. Quelques jours avant le Jour des Morts, ils se rassemblaient autour d'une table à l'heure du thé pour tisser ces couronnes, qui devenaient des portraits du ou de la défunt.e, arborant leurs couleurs préférées et référençant leur vie et certaines de leurs caractéristiques. 

Tanha est la première artiste soutenue par le programme d'accompagnement jumelé PWM + MAI. Sur la durée du programme, elle bénéficiera d'un accompagnement personnalisé pour son projet, d'une allocation de fonds de 5 000 $, de possibilités de formation et de réflexion, d'un accès aux studios de répétition du MAI et de 30 heures avec un dramaturge.

LE PROGRAMME

L'accompagnement jumelé PWM + MAI accompagne les artistes dans leurs parcours pour développer un projet et approfondir leurs connaissances. Il s'adresse aux artistes rencontrant des obstacles structurels et systémiques à leur pleine participation aux arts en raison de leur identité revendiquée et/ou perçue dans la société. 

Plus de détails sur le programme disponibles ici.

Nous sommes très fiers d'accompagner le développement du projet de Tanha, et lui souhaitons une création passionnante !

Ce programme est un partenariat entre
PWM logo
Projet supporté par le gouvernement du Québec dans le cadre de l'Entente sur le développement culturel, par la Ville de Montréal, ainsi que par le Conseil des arts du Canada
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