Announcing the 2022 Playwrights | Dévoilement des Participant.e.s de 2022

Playwrights’ Workshop Montréal (PWM) and le Centre des auteurs dramatiques (CEAD) in partnership with Creative Gros Morne, the Bonne Bay Aquarium, the Fondation Cole, and Artistic Fraud of Newfoundland are excited to announce the seven playwrights participating in the 2022 Résidence d’écriture théâtrale de Gros Morne in Newfoundland. 

From October 13 to 24, 2022, Sharon Bala, Lois Brown, Marie-Hélène Larose-Truchon, Johanne Parent, Alicia Payne, Julie-Anne Ranger-Beauregard, et Scout Rexe will be staying at the Bonne Bay Marine Station in Norris Point, located in Gros Morne National Park, Newfoundland and Labrador.

The Gros Morne Playwrights’ Residency is a dual-lingual residency that welcomes playwrights from across the country to write, dream, share and create. The residents will have the opportunity to explore their plays during unstructured writing time, one-on-one dramaturgical conversations, and in group discussions with works being shared every evening. The program offers dramaturgy in French and English.

Look out for future social media posts about the artists and the residency.

Playwrights’ Workshop Montréal (PWM) et le Centre des auteurs dramatiques (CEAD), en partenariat avec Creative Gros Morne, l’Aquarium de Bonne Bay, la Fondation Cole et Artistic Fraud de Terre-Neuve, sont heureux de dévoiler le nom des sept auteurs et autrices qui ont été sélectionnés pour participer à la Résidence canadienne d’auteurs dramatiques de Gros-Morne 2022, à Terre-Neuve-et-Labrador.

Du 13 au 24 octobre 2022, Sharon Bala, Lois Brown, Marie-Hélène Larose-Truchon, Johanne Parent, Alicia Payne, Julie-Anne Ranger-Beauregard et Scout Rexe séjourneront à la Bonne Bay Marine Station de Norris Point, située dans le parc national de Gros Morne, à Terre-Neuve-et-Labrador.

La résidence d’écriture théâtrale de Gros-Morne est une résidence bilingue qui accueille des auteurs de tout le pays pour écrire, rêver, partager et créer. 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, les œuvres en développement étant partagées chaque soir. Le programme propose une dramaturgie en français et en anglais.

Surveillez les prochains messages sur les réseaux sociaux concernant les artistes et la résidence.


Meet the playwrights / Rencontrez les auteurs

Sharon Bala, Newfoundland

PLAY IN DEVELOPMENT: UNCERTAINTY PRINCIPLE

Sharon Bala’s bestselling debut novel, The Boat People, won the 2020 Newfoundland & Labrador Book Award and the 2019 Harper Lee Prize for Legal Fiction, was short listed for several awards, and is in translation in four languages. In 2017 she won the Writers’ Trust/ McClelland & Stewart Journey Prize for her short story “Butter Tea at Starbucks” and had a second story on the long-list. Sharon is a member of The Port Authority, a St. John’s writing group.

Visit her at: sharonbala.com

Photo credit: ​​Nadra Ginting


LOIS BROWN, NEWFOUNDLAND

PLAY IN DEVELOPMENT: DRINKING AGAIN

Born in Corner Brook, Newfoundland and educated in Drama at The University of Alberta, Lois Brown established her cross-disciplinary artistic practice in St. John’s. She is past Artistic Animateur of RCA Theatre Company (1993-97), original member and past Curator of Neighbourhood Dance Works (1982-89, 1990-92), and past Artist in Residence and dramaturg at Playwrights’ Workshop Montréal, Montréal, Québec, Canada (2010-13). In 2004, she was one of five Canadian directors short-listed for the Elinore & Lou Siminovitch Prize. In 2005, she was awarded The Victor Martyn Lynch-Staunton Award for outstanding achievement in theatre by a mid-career Canadian artist by The Canada Council for the Arts. She has received numerous recognitions for work and has been inducted into Dance Canada Danse Encore! Dance Hall of Fame. Lois holds a Masters from Memorial University, where she has taught acting and directing. Since an accident in 2008, Lois has brought her growing interest in disability arts aesthetics, and her explorations of dramaturgy and choreography to her ongoing investigation of improvisation and of “things”. The resulting work found her aiming beyond interdisciplinariness, beyond a synthesis of disciplinary approaches towards something else, another dimension of expression and experience. 

Portrait credit: Jeremy Gordaneer


MARIE-HÉLÈNE LAROSE-TRUCHON, QUÉBEC

TEXTE EN COURS DE DÉVELOPPEMENT: (SANS TITRE)

À sa sortie de l’École nationale de théâtre du Canada en écriture dramatique, Marie-Hélène Larose-Truchon gagne le concours « théâtre jeune public et la relève ». Ses pièce Minuit (Leméac) et Un Oiseau m’attend ont reçu des mentions au prix Gratien-Gélinas. Elle est la lauréate du prix Gratien-Gélinas 2021 pour sa pièce Le Jardin d’Éden. Elle est aussi l’autrice des pièces jeune public Crème-Glacée et Amande-Amandine toutes deux publiées chez L’Arche Éditeur. Ces pièces ont été produites par le Petit Théâtre de Sherbrooke, le Double Signes, le théâtre de la Seizième, le théâtre de la Petite Marée et en France par Théâtre en scène et L’insomniaque cie.

Crédit photo: Jessica Garneau


JOHANNE PARENT, NEW BRUNSWICK

TEXTE EN COURS DE DÉVELOPPEMENT: PÂQUES

Johanne Parent a fait des études en littérature à l’Université de Moncton. Sa première pièce remporte le volet jeunesse du Prix littéraire Antonine-Maillet Acadie-vie en 2001. Depuis, ses textes ont fait l’objet de mises en lectures professionnelles notamment au Festival à Haute-voix du Théâtre L’Escaouette et à La Salle des machines du Centre des auteurs dramatiques.  En 2018, elle est invitée par l’Association des théâtres francophones du Canada à participer à une résidence d’écriture à Banff où elle créera les bases d’Ornithorynques. Elle habite le nord du Nouveau-Brunswick.


Alicia payne, Ontario

PLAY IN DEVELOPMENT: WHEN IT MATTERS MOST

Alicia Payne is a multi-disciplinary artist whose credits include theatre, film, television and radio. Professional memberships include, ACTRA, CAEA, Dramatists Guild of America and Playwrights Guild of Canada where she served as president. Alicia facilitates workshops with youth and adults in community and organizational settings. Presentations of Alicia’s work include: Canadian Forces Artists Program Exhibition (Group 6), Atlanta Black Theatre Festival, National Black Theatre Festival (North Carolina) and Valdez Theatre Conference (Alaska). Alicia narrated the audiobook Flower Diary by Molly Peacock and is a co-founder of Arbez Drama Projects. Alicia believes in the power of storytelling to build community.

Photo credit: Richard Yagutilov


JULIE-ANNE RANGER-BEAUREGARD, QUÉBEC

TEXTE EN COURS DE DÉVELOPPEMENT: PORCELAINES

Julie-Anne Ranger-Beauregard est diplômée de l’École Nationale de Théâtre du Canada (Écriture dramatique, 2010) et de l’École Nationale de l’Humour (Scénarisation, 2017). Sa pièce Quatre filles (adaptation du roman Little Women de Louisa May Alcott) a été présentée en mars-avril 2022 sur les planches du Théâtre Denise-Pelletier (m.e.s. Louis-Karl Tremblay). Précédemment, sa pièce Les inconnus (finaliste du prix de la dramaturgie francophone de la SACD, 2015) a été jouée à la Petite Licorne en septembre 2016 (m.e.s. Frédéric Blanchette). Prochainement, elle co-signera l’adaptation du roman Manikanetish de Naomi Fontaine, présentée au Théâtre Duceppe en mars 2023 (m.e.s. Jean-Simon Traversy).

Crédit photo: Guillaume Sauriol Lacoste


scout Rexe, Manitoba

PLAY IN DEVELOPMENT: CULT PLAY

Scout Rexe (they/she) is a playwright and dramaturg. As a writer, their work explores queer and trans identities, celebrity, sexual violence, and social change. Guillermo Verdeccia called Rexe’s first full-length play This is the August (SummerWorks, 2016) a “smart, funny play, rich with the complexities of contemporary life in the west.” Her first short play Lodged in the Body (Theatre of the Beat, 2018-2019) was commissioned and toured Canada and the Netherlands, reaching over 2000 people. Rexe is currently writing O Death, a full length play with music, and Cult Play, which they will be focusing on during their time at Gros Morne.


Robert Chafe (Artistic Fraud),  Sara Dion (CEAD), Fatma Sarah Elkashef (PWM) and  Emma Tibaldo (PWM)  will collaborate as partner-dramaturgs for the group.


Robert Chafe (Artistic Fraud),  Sara Dion (CEAD), Fatma Sarah Elkashef (PWM) et  Emma Tibaldo (PWM) collaboreront en tant que partenaires-dramaturges pour le groupe.

The Resident Creators of the 2022 Glassco Translation Residency

The Glassco Translation Residency invites 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. 

After a two-year hiatus, we are delighted to welcome seven resident artists to translate five different plays during the Glassco Translation Residency in 2022! 


MEET THE RESIDENT CREATORS

Click on their portrait to learn more about each resident artist

QUEUE CERISE

Translation from French to English

 Amélie Dallaire – Playwright

Gabe Maharjan – Translator

THE CANDOR OF DINOSAURS

Translation from English to Portuguese

Michael Mackenzie – Playwright

Isabel dos Santos  – Translator

COPEAUX and MURS

Translation from French to English

Mishka Lavigne – Playwright

 David Gagnon Walker  – Translator

HAVRE

Translation from French to Spanish

Mishka Lavigne – Playwright

Emilio Iturbe-Kennedy  – Translator

dramaturge de traduction

We’re also pleased to welcome award-winning translator Maryse Warda, who will serve as translation dramaturg and residency host.

Born in Egypt, where she spent her childhood, Maryse Warda has been active on Quebec stages since 1992, and has translated more than seventy plays. Her work has helped introduce French-speaking audiences to many Canadian authors such as John Mighton, Morris Panych and George F. Walker. She has also translated for many  American, British, Scottish and Irish authors including Howard Barker, Margaret Edson, David Greig, David Hare, David Ives, Cindy Lou Johnson, David Mamet, Arthur Miller and Harold Pinter.

In 2011, she received the Governor General’s Award for her translation of the play The Toxic Bus Incident by Greg MacArthur. Her translation of Anthony Black’s One Discordant Violin – inspired by a short story by Yann Martel – was the subject of her work at the Glassco Translation Residency in 2019 and will be presented at La Licorne in the fall of 2022.

Since 2006, Maryse has benefited from the wonderful Glassco Translation Residency in Tadoussac on nine occasions. This is the first time that she will serve as translation dramaturg and host.

ABOUT THE GLASSCO TRANSLATION RESIDENCY IN TADOUSSAC

Over the past 16 years we have offered space, time, and dramaturgical expertise to over 63 translation projects into languages such as Cantonese, Catalan, Cree, English, French, Innu-aimun, Italian, Portuguese, Spanish, Tamil, Tagalog and Urdu.

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 the friends and family in memory of the great Canadian theatre artist, Bill Glassco. We are also grateful to the 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.

Supporters: The Cole Foundation, Friends and Family of Bill Glassco, The Canada Council for the Arts, Le Conseil des arts et des lettres du Québec, Le Conseil des arts et des lettres du Québec

2022 Gros Morne Playwrights’ Residency

Image of a shoreline in Gros Morne featuring colourful salt box houses. The image has a blue banner with white text which reads: “2022 Gros Morne Playwrights’ Residency”

CALL FOR APPLICATIONS

The Gros Morne Playwrights’ Residency is a Playwrights’ Workshop Montréal (PWM) and the Centre des auteurs dramatiques (CEAD) program, created with the participation of Artistic Fraud, and in partnership with the Fondation Cole, Creative Gros Morne, et le Bonne Bay Marine Station. It is a dual-lingual residency that will welcome writers from across the country to Gros Morne, Newfoundland.

ABOUT THE GROS MORNE PLAYWRIGHTS’ RESIDENCY

The Gros Morne Playwrights’ Residency will bring together seven Canadian playwrights over a twelve-day period, from October 13 to 24, 2022. This unique dual-lingual residency is offered by two pan-Canadian organizations, PWM and CEAD, with the participation of Artistic Fraud of NL. It will take place at the Bonne Bay marine station in Norris Point, located in Gros Morne National Park, Newfoundland and Labrador.

English language playwrights are asked to apply through PWM and French language playwrights through the CEAD. These two organizations will assess submissions from all across the country and select three English and three French applications. A seventh spot is reserved for a playwright from Newfoundland and Labrador.

The residency will be led by Fatma Sarah Elkashef, artistic director of PWM, Emma Tiabldo, dramaturg at PWM, and by Sara Dion, dramaturg at CEAD. The residency is an opportunity for solo writing, punctuated with moments of exchange and reading of texts as a group. The Gros Morne Playwrights’ Residency provides playwrights with transportation, accommodation, meals, an honorarium of $800.00, and dramaturgical support.

Applications for this residency are now closed.

HOW TO APPLY

Submission deadline: May 20th, 2022 at 11:59 PM

Please send English submissions by email to: residency@playwrights.ca

With the subject line: 2022 Gros Morne Playwrights’ Residency

Incomplete submissions will not be considered. Selection will be made by an internal committee set up by PWM and CEAD. We will only notify the selected applicants. The selected playwrights will be informed no later than July 8, 2022.

For more information about the residency, please contact residency@playwrights.ca

Eligibility:

  • Be a playwright, writing in English, and having at least one dramatic work workshopped, published, or professionally produced;
  • The play would ideally be in the early stages of development (first draft or slightly beyond);
  • Be available for the whole residency;
  • Be willing to participate in all activities prepared during the residency;
  • For playwrights writing in French please see link to CEAD ici.

PWM welcomes all applications to our programs. While recognizing that the identity of each person is fundamentally plural, multidimensional, changing and evolving, 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.

Your submission package must include:

  • A statement of your interest in the residency and how it will benefit your process; 
  • A description (PDF, video or audio) of the play (maximum 1 page/2 minute video or audio) with an excerpt of the play in progress (minimum 10 pages, maximum 12 pages);
  • A CV (2 pages maximum) and a short bio (100 words maximum);
  • A copy of your last published, workshopped or produced play.

Please submit all of the above as a single PDF file including links to the audio or video description if relevant.

If you need assistance with this application, please contact Heather Eaton at heather@playwrights.ca.

IMPORTANT

The holding of the residency is dependent on the evolution of the COVID-19 pandemic in Québec and in Newfoundland and Labrador. The residency and its parameters could be reassessed or postponed prior to the residency.

PLACES TO CREATE DURING THE GROS MORNE PLAYWRIGHTS’ RESIDENCY

Bonne Bay Marine Station

Since 2002, the Bonne Bay marine station, located on the magnificent west coast of Newfoundland and Labrador, has had the primary mission of expanding knowledge in marine ecology. In addition, the station also engages in community and artistic activities. Nestled in the small coastal community of Norris Point and with breathtaking views, it is equipped with laboratories, offices, a library, a multimedia theatre, an aquarium, and a building with individual rooms. 

www.bonnebay.ca 

The residence is wheelchair accessible. However, the library and theatre space at the Bonne Bay Marine Station which is used often by the playwrights requires the participant in a wheelchair to leave the residence, travel across the parking lot, into the main lobby entrance to access the library/theatre space.

Gros Morne National Park

Soaring fjords and moody mountains tower above a diverse panorama of beaches and bogs, forests and barren cliffs. Shaped by colliding continents and grinding glaciers, the ancient landscape of Gros Morne national park is a UNESCO World Heritage Site.

www.pc.gc.ca/fra/pn-np/nl/grosmorne/index.aspx

SCHEDULE FOR THE GROS MORNE PLAYWRIGHTS’ RESIDENCY

October 13, 2022

Travel via plane and car to Norris Point, Newfoundland and Labrador (anyone departing West of Ontario will have to add a day of travel).

October 14-23, 2022 

  • Unstructured writing time at Bonne Bay Marine Station;
  • Individual sessions with residency dramaturgs as requested by the playwright;
  • Daily ninety minute group meetings to read and discuss the process;
  • Possibility of a public activity with the community.

October 24, 2022

Departure for home.

A PDF of this call is available here:

2022 Glassco Translation Residency

Image of the outside of the cabin where the Glassco Translation Residency is held.

Le Résidence de traduction Glassco à Tadoussac est organisée par Playwrights’ Workshop Montréal, en partenariat avec la Fondation Cole,et le soutien des amis et de la famille de Bill Glassco.

After making the difficult decision to cancel the Glassco Translation Residency in Tadoussac for our 2020 and 2021 seasons, PWM is excited to launch the call for the 2022 The Glassco Translation Residency!

Applications for this residency are now closed.


HOW TO APPLY

Please send us the following to residency@playwrights.ca:

  • A description (PDF, video or audio) of the project which includes:
    • The name of the translator and playwright; 
    • An indication of how the Residency will benefit the project including how being in physical proximity to the playwright might move the translation forward;
    • Any details on production interest;
    • A description of where you are in the translation process;
    • And whether you are interested in dramaturgical conversations around translations, including with other artists at the residency;
  • Biographies of both the playwright and translator;
  • Un exemplaire de la pièce dans sa langue originale.

Residency dates: June 5th-15th, 2022

Submission deadline: March 11th, 2022

Please email submissions (PDF format, 1 file only) to residency@playwrights.ca with the subject line: 2022 Glassco Translation Residency application.

If you have any questions, or need assistance with this application, please contact Heather Eaton at heather@playwrights.ca.

Plus d'information sur la Résidence de Traduction Glassco ici.

ABOUT THE GLASSCO TRANSLATION RESIDENCY

The Glassco Translation Residency invites 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 16 years we have offered space, time, and dramaturgical expertise to over 63 translation projects into languages such as Cantonese, Catalan, Cree, English, French, Innu-aimun, Italian, Portuguese, Spanish, Tamil, Tagalog and Urdu.

We’re pleased to welcome award-winning translator Maryse Warda, who will serve as translation dramaturg and residency co-host with Briony Glassco.

We are now accepting submissions of plays that are slated for translation. Please note that we do not fund the commission of the translation. The play should ideally have had a production in its original language. At least one component of the project needs to be Canadian.

Un des critères de sélection des projets est la possibilité pour l’auteur et son traducteur de participer ensemble, en même temps, à la résidence.

A vaccination passport will be required. Please let us know if you have a medical exemption and PWM will accommodate. 

An honorarium of $800 is offered to each participant. In addition, all costs for travel, meals and accommodation are covered.

PWM welcomes all applications to our programs. While recognizing that the identity of each person is fundamentally plural, multidimensional, changing and evolving, 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.

ACCESSIBILITY DETAILS

The house: The residency is in Tadoussac, Québec in an 18th century log home. There are 8 steps down to the entrance of the house. Each guest will have their own room with a writing area and there are multiple locations to write throughout the home. The bathrooms are shared. The bathrooms are not wheelchair accessible. For detailed information or to ask specific questions about the bathrooms, accommodations, or workspaces please email accessibility@playwrights.ca.

Travel: In order to arrive in Tadoussac, transportation is provided typically by train or airplane to Quebec City. From Quebec City, a three-hour taxi ride or a bus ride via Orleans Express (that crosses a ferry at one point) brings the participants to the house in Tadoussac. 

Meals: PWM hires a chef to make dinner each evening. Lunch and breakfast are on a self-serve basis.  PWM asks all participants their food needs ahead of time so that we can accommodate them. The meals are communal and social distancing is not possible.

Internet: Internet access is inconsistent inside the house but PWM is working on upgrading it for the 2022 residency. 


La Résidence de traduction Glassco à Tadoussac est rendue possible grâce à notre partenariat avec le Programme de Conversations Interculturelles de la Fondation Cole, au dévouement de la productrice de la résidence Briony Glassco, ainsi qu'aux donations à la mémoire du grand artiste théâtral canadien Bill Glassco. Nous sommes également reconnaissants envers le Conseil des arts du Canada, le Conseil des arts et des lettres du Québec et le Conseil des arts de Montréal pour leur soutien continu.

Supporters: The Cole Foundation, Friends and Family of Bill Glassco, The Canada Council for the Arts, Le Conseil des arts et des lettres du Québec, Le Conseil des arts et des lettres du Québec

PWM+MAI Joint Support for Artists Featuring Jamila ‘Jai’ Joseph


Le Playwrights' Workshop Montréal et MAI (Montréal, Arts Interculturels) sont heureux d’annoncer que le Soutien conjoint aux artistes du PWM et du MAI sera offert à Jamila « Jai » Joseph pour son œuvre Wild Roots.

L'ARTISTE

Headshot of Jamila Jai Joseph

Jamila « Jai » Joseph est une artiste interdisciplinaire de Montréal dont les principaux moyens d’expression sont la danse (plus de 20 ans), la chorégraphie (plus de 10 ans), la chanson (autodidacte depuis plus de 15 ans) et le théâtre (3 ans). Récipiendaire du prix Victor Phillips du Black Theatre Workshop en 2002, Jamila a continué à créer, apprendre, se produire, se raconter et s’exprimer à travers ses œuvres. En 2015, Jamila a lancé JaiDanse, une compagnie de facilitation de la danse et de la performance dansée et a produit et coproduit des spectacles à la fois pour la scène et le théâtre dans des salles locales.  

Récipiendaire du prix Victor Phillips du Black Theatre Workshop en 2002, Jamila a continué à créer, apprendre, se produire, se raconter et s’exprimer à travers ses œuvres. En 2015, Jamila a lancé JaiDanse, une compagnie de facilitation de la danse et de la performance dansée et a produit et coproduit des spectacles à la fois pour la scène et le théâtre dans des salles locales. Mothers Say I love Youécrite par Trey Anthony (Black Theatre Workshop, 2019) et de l’odyssée musicale a cappella de Nicole Brooke Obeah Opera (ASAH Productions, 2019), à Toronto. Pour son premier rôle sur scène en 2017, elle a interprété Lady in Purple dans la pièce For Colored Girls... Entre 2017 et 2019, Jamila a eu le plaisir de se joindre à la distribution de How Black Mothers Say I Love You, écrite par Trey Anthony (Black Theatre Workshop, 2019) et de l’odyssée musicale a cappella de Nicole Brooke Obeah Opera (ASAH Productions, 2019), à Toronto. Pour son premier rôle sur scène en 2017, elle a interprété Lady in Purple dans la pièce For Colored Girls... de Ntozake Shange (Tuesday Night Café Theatre de l’Université McGill). Elle a repris ce rôle en 2018 dans une présentation en « rappel » produite par la troupe (Les 6 Productions). Alors que nous nous sommes tous arrêtés au cours des deux dernières années, Jamila a utilisé ce temps pour parfaire sa pratique artistique et aiguiser ses outils créatifs en ajoutant quelques nouvelles cordes à son arc. Elle chorégraphie actuellement pour le théâtre (annonce à venir) et écrit également un scénario et une chanson pour Wild Roots, la pièce de théâtre performance sur laquelle elle travaille. Wild Roots.

LE PROJET

Wild Roots est une fantaisie théâtrale mettant en scène le parcours d’une jeune femme canadocaraïbéenne qui explore le lien spirituel à soi-même à travers une série d’événements uniques. Dans un rêve, le chant, la danse et les coutumes folkloriques donnent le ton à cette période d’apprentissage tandis qu’elle est confrontée à des aspects difficiles d’elle-même qu’elle doit surmonter. Elle examine ainsi en profondeur les différentes manières suivant lesquelles on peut remettre en question d’anciennes croyances et normes culturelles et sociétales.

Le mode de guérison devient le fond sur lequel cette histoire s’enracine. Une approche et une perspective interdisciplinaire permettent d’explorer davantage comment les traditions intergénérationnelles peuvent se prêter à la découverte de soi et à la guérison.

LE PROGRAMME

Le Soutien conjoint du PWM et du MAI accompagne les artistes dans leur parcours afin de leur permettre de développer un projet et d’explorer leur pratique. Il s’adresse aux artistes qui font face à des obstacles structurels et systémiques dans leur pleine participation aux arts en raison de leur identité déclarée ou perçue dans la société. 

Plus de détails sur le programme disponibles ici.

C’est un grand plaisir pour nous de soutenir le développement du projet de Jamila et nous lui souhaitons un processus de création épanouissant!

Ce programme est un partenariat entre
PWM logo
Projet soutenu par le gouvernement du Québec dans le cadre de l’Entente sur le développement culturel, par la Ville de Montréal et par le Conseil des arts du Canada.
Canada Council logo

Download ici:

APPLY NOW: Experimentation in Digital Creation

Playwrights’ Workshop Montréal is introducing a new micro-residency program focusing on digital dramaturgy.

Applications are now closed.


Building upon months of online workshops, and various forms of digital theatrical experimentation, PWM is excited to introduce our new micro-residency program: Experimentation in Digital Creation!

This program is open to any theatre project that has digital elements to explore— whether the plan is to present them virtually, in-person, or disseminated in a hybrid-fashion (partly online and partly in-person).

We will be inviting selected artists from across Canada to experiment with us for 3 to 5 days, depending on the needs of their project. Residencies will take place at some point between January and August 2022.

Artists will will have access to our studio, equipment, and PWM’s dramaturgs— including digital dramaturgs and multi-media creators potatoCakes_digital, who are leading this exciting project!

Together, we will create a digital dramaturgy process centred on our resident artists and their exploratory questions. 

PWM promotes equity and encourages applicants to indicate if they self-identify as belonging to one or more equity priority groups: women, racialized persons, 2SLGBTQQIPAA+, Indigenous persons, refugees, recent and first-generation immigrants not belonging to the dominant cultures in their areas, d/Deaf persons, neurodivergent persons, disabled persons, emerging artists, persons living with chronic illness, persons living with chronic pain, if they feel comfortable doing so.

This program was created for folks who are interested in experimenting with new digital art forms. The projects are ideally in the early to mid-stages of development and are in a place to benefit from exploration with different tools and form.  

PWM is a versatile blackbox studio equipped with:

  • Video Equipment (Cameras, switcher, projectors)
  • VR equipment (Vive Pro2 & Oculus Quest 2)
  • Lighting
  • Podcasting microphones
  • Virtual conferencing
  • Greenscreen
  • Other equipment will be sourced by PWM depending on each project’s individual needs

For our full tech rider and available equipment, click ici.

Given the knowledge-sharing component of this initiative, prospective participants should be aware that there will be documentation of the digital dramaturgical process that will be shared publicly on our website.

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.

PROJECT SUPPORTED BY
THE DIGITAL DRAMATURGY CLINIC IS FUNDED BY THE SECRETARIAT FOR RELATIONS WITH ENGLISH-SPEAKING QUEBECERS