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 Cole Foundation, and Artistic Fraud of Newfoundland are excited to announce the seven playwrights participating in the 2022 Gros Morne Playwrights’ Residency in Newfoundland.

From October 13 to 24, 2022, Sharon Bala, Lois Brown, Marie-Hélène Larose-Truchon, Johanne Parent, Alicia Payne, Julie-Anne Ranger-Beauregard, and 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.

May 26, 2022May 23, 2023

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

Translation Dramaturg

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

February 11, 2022March 25, 2022

2022 Glassco Translation Residency

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

The Glassco Translation Residency is a Playwrights’ Workshop Montréal Residency, in partnership with the Cole Foundation, and the support of the friends and family of 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;
A copy of the play in its original language.

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.

Find more info about the Glassco Translation Residency here.

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.

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

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.

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 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.