Call for Dramaturgical Collaboration Applications for 2024-2025


Applications for Dramaturgical Collaborations are now open. 

APPLICATION DEADLINE: January 30th, 2024 11:59PM EST

All applicants will receive a response by the end of April 2024 informing them of the outcome of their application for the 2024-2025 season.

The ASL video format of this section is viewable here.


The open call for Dramaturgical Collaborations is PWM’s invitation to playwrights and creators from across Canada to work with us. Together, we engage in deep explorations of story, form and process.

Our Dramaturgical Collaborations begin with one-on-one and ongoing Dramaturgical Conversations in which we discuss the needs of the project and playwright/creator(s). From there, we mutually determine with the artist(s) one or a combination of the following opportunities for the project:

Workshops:  An opportunity to explore a work in progress with actors/collaborators in order to evolve the project. Each Workshop is led by a PWM dramaturg in collaboration with the playwright/creator(s). Text based projects will be read by a company of actors and the playwright and dramaturg will then have the opportunity to ask and explore questions with the company. For non-text based projects, the Workshop is designed around whatever elements create the narrative/event. Sometimes a private reading for invited guests is a part of a Workshop, and it is used as an opportunity to introduce the work to an audience for the first time. The length of a Workshop is determined by the needs of the project.

Residencies: As part of the Dramaturgical Collaboration, PWM may offer dedicated Studio time for exploration (not rehearsal) to a playwright/creator(s) developing a project with PWM. These residencies take place in our studio in Montreal, and are separate from our national residencies at Gros Morne and Tadoussac.

Mentorships:  Mentorships are set up to answer a very specific need in the early stages of a creation process. In collaboration with a PWM Dramaturg, the playwright/creator determines who is best suited to accompany them through this essential phase. This may be an expert in a given discipline, a creator from a similar or different discipline, or a dramaturg with a particular field of experience. The mentor is paid by PWM to work with the artist as a mentee.

To learn more about these and other terms used at PWM, please refer to our glossary.


Considerations for Dramaturgical Collaboration at PWM

The ASL video format of this section is viewable here.

Stage of Development: We accept applications for projects at all stages of development depending on the nature of the work. It could be an idea, a first draft (in whatever form that may be), a new iteration of a project that has already been shared, or a draft that is in an advanced stage of development.

Discipline: This project could be a play, a performance, a digital work (for example: AR/VR, interactive game-based presentation, live or prerecorded virtual performance), or something hybrid in terms of language, discipline, or technology.

Applicants: We welcome individual playwright/creator(s) and collectives to apply directly through our Google form. If you are a theatre company, please contact dramaturg@playwrights.ca to discuss Dramaturgical Collaborations before submitting an application online.

Location: We welcome local and national applications. We work in-person, virtually (for example: by video chat or by use of online collaborative tools), or a combination of both. *Please note that working virtually is an option available to out-of-town artists, as well as local artists based in Montreal.

Because developing plays and performances takes time, PWM has numerous ongoing projects. Therefore, we can only welcome a limited number of new projects per season despite receiving many inspiring applications. We are grateful to everyone who applies.

PWM is committed to creating an environment where all individuals are treated with dignity and respect.  We are continuously working to make all of our programs accessible and inclusive. While recognizing that the identity of each person is fundamentally plural, and multidimensional, we strongly encourage applications from artists who are: Indigenous (First Nations, Métis, and Inuit), Black, POC, racialized (including recent immigrants), 2SLGBTQQIPAA+, d/Deaf, 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.


How to apply for Dramaturgical Collaboration at PWM

The ASL video format of this section is viewable here.

You can apply for Dramaturgical Collaboration via our Google form, linked here. Audio and video answers to some of the questions in the form are also welcomed. Click here to preview the form as a PDF.

You will be asked to provide: 

  • General information about you
  • Information about your project 
  • How you would like to work with PWM
  • Your CV and bio and that of any collaborators
  • A sample of the proposed project (if available) or past work 

Your proposal will not be sent until you click the SUBMIT button at the end of the application via the Google form. You will be able to edit your responses until the application’s deadline by reusing the same email address and login. 

If you have any questions regarding Dramaturgical Collaborations, please contact us at dramaturg@playwrights.ca

If you have any questions regarding accessibility, require assistance with your application, or would like to discuss alternative methods of applying and deadline flexibility, please contact accessibility@playwrights.ca. For accessibility information and video tours of our location, please click here.

A Practice Is Born

by Liam Zarrillo


The storytelling process has arrived at a fascinating and complex intersection. Historically speaking, stories and stages have seen a devastating lack of representation of folks who come from marginalized or barrier-facing communities. (This has been both in terms of characters in stories, as well as the artists crafting the stories themselves.) It appears that we are now reckoning with this reality and want to do something about it.

But what do we do? Who do we need to see in stories and on stages? Who has the right to include such characters? Surely the answer cannot be: one may only craft characters that resemble one’s exact lived experience. No, it is necessary for us to be writing stories that are reflective of life. Real life. And real life is diverse.

For myself, from this aim towards authenticity and accountability, a new professional and artistic role was borne. It falls under several titles, depending on the project/project’s phase: that of cultural consultant, experiential consultant or cultural dramaturg.   

For over a year, I have been working in this capacity on a play called O Death by Scout Rexe. This play has received support from several different companies across the country, and has been championed for years by Playwrights’ Workshop Montréal.

Picture of Liam Zarrillo, Scout Rex and Susil Sharma

While I had worn the hat of cultural consultant before coming on board O Death, it is through my experience working on this project that I have begun to truly shape and hone my practice.

Given that O Death is a queer wok, it makes perfect sense that our time together has followed a queer process. A “queer process” can be defined in endless ways, as what makes it “queer” is subjectively defined by the participants themselves. As someone who identifies explicitly as a “queer theatre artist”, my definition of a queer process is one that is inclusive of, but extends beyond solely contemplations on gender & sexuality. I consider a queer process to be one that exists without any rigid pre-existing boundaries or structures. One that is constantly interrogating norms and is flexible and open to redefinition and rearticulation. It is reflective of and responsive to the needs of those involved in an ever-evolving way.

Because my experience working on O Death through PWM has been held inside of this queer context, I have had the space to experiment with and perform this new role in a myriad of ways. O Death tells the story of a trans musician (James) and his queer femme sister (Caddy) hit with several significant obstacles as their music careers are about to take off. I was initially brought on to have some chats and dig in on the authenticity of James’ character. Since then, I have had countless thoughtful sessions and conversations with the playwright. I have read several drafts. I have fed back and been heard. I have been encouraged to bring my dramaturgical experience into my role, allowing for dialogue not only about the authenticity of the trans character, but how his experience fits into his narrative journey. This non-exhaustive list just scratches the surface of such a formative process. 

And now, when I sit down with playwrights or artistic directors to discuss a new cultural consultant contract, I am able to articulate how I work, what I can bring to the table, and offer them options about how we might proceed. The number one goal being inviting in, consensual teaching, healthy boundaries and whatever most serves the story and project at the given moment.

This intersection of authenticity meets accountability is complicated, it is nuanced. I do not believe there is one hard and fast, objective answer or solution to the challenge. There is so much to be mindful of when interacting with the lived experiences of others. We need to ensure we are not taking up space that should belong to others. It is not our right to tell the stories of others, when folks can and should be given the opportunity to tell them for themselves.

I do believe it is our responsibility, however, as arts makers to consider this challenge of diversifying stories and stages, and how we might rise to meet it. There might be no “overcome” in a world as entrenched in problematic and oppressive systems as ours… but I do believe that there is “try”. There is “listen”. There is “do better than the last time.”  There is actively working towards the kind of change we want to see. 

Liam Zarrillo is a theatre artist, educator and consultant based on Treaty 1 territory.

They love and live to agitate, investigate, experiment and uncover. They work with many theatres & companies in Winnipeg and beyond as a playwright, actor, director and cultural dramaturg.

Upcoming works for Liam include The Outside Inn (co-written with Sharon Bajer) premiering at Theatre Antigonish this fall and Volare premiering at Prairie Theatre Exchange this coming spring.

They will also be performing in Daniel Thau-Eleff’s Narrow Bridge, premiering at the Winnipeg Jewish Theatre in early 2023.  

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 Cole Foundation, Creative Gros Morne, and the 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 here.

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:

Collaboration, Intentionality, and Cultural Dramaturgy

Graphic image of the header for Scout Rexe's blog post. The image has three blue circles with blue and black lines framing a white box with text which reads: “Collaboration, Intentionality and Cultural Dramaturgy" with a small black box underneath which reads: "By Scout Rexe”.

by Scout Rexe


I had the honour of spending last week with dramaturg Fatma Sarah Elkashef (she/her) and cultural dramaturg and performer Liam Zarrillo (they/them) at an invited residency at Playwrights’ Workshop Montréal (PWM) to work on my play with music, O Death.

O Death is a nuanced exploration of trans and queer identities, accountability culture, and the impact of our cultural icons. After being called out by a fan, trans musician James and his queer sister Caddy must reckon with pressure from their family, the media, and the public whilst launching their musical career in the shadow of their rock legend grandfather. Generations collide as James and Caddy discover their grandfather’s corrupted legacy. 

The play is dark and funny. Intimate family conversations are punctuated with a series of surreal mindscapes that offer playful, non-linear access to James’s inner life. I worked on the songs in the show with musicians Susil Sharma (he/him) and Hayden Siemens (they/them) who composed the music, bringing an authenticity that feels essential to the play’s characters.

This project has gone through a rich and deeply collaborative development process. I first met Sarah in 2018 after moving back to Montreal with two small grants from Buddies in Bad Times and Nightwood Theatre to write O Death. I instantly connected with Sarah. We have both been committed to a deep investigation of both the play and our process, and our shared commitment to this has meant we’ve spent a lot of time figuring out how best to create it. 

Early on in the project, I identified the need to work closely with an actor with lived experience to play the role of James–someone who could work with me as a cultural dramaturg, and be properly compensated for that labour, in addition to working as a performer in the development process. When we couldn’t find the right collaborator in Montreal, Sarah and PWM secured additional travel funds for someone who could be brought in from another city in Canada. We couldn’t find the right person, and ended up canceling our workshop at PWM in 2019. 

In 2020, I moved to Manitoba, and Sarah introduced me to Brian Drader (he/him) who is a playwright as well as the Executive Director of the Manitoba Association of Playwrights. He read a draft of O Death and connected me with Liam, who is fiercely intelligent, and considerate, and a gifted actor and dramaturg. 

Liam and I started working together right away, with PWM hiring them on as a cultural dramaturg on the project. We worked intentionally to develop a safer space within each other and our work process, and in so doing, started to form a really meaningful friendship. 

Our dramaturgical conversations lead up to a 16 hour workshop with PWM in 2021 with a full cast. Because of the pandemic, we ran the workshop on Zoom, allowing Liam to join from Winnipeg, me to join from Brandon, Kate Hammer (she/they) from Scotland to play queer femme musician Caddy, and Chip Chuipka (he/him), Jane Wheeler (she/her), Julie Tamiko Manning (she/her), and Sarah Elkashef (she/her) from Montreal. That workshop was incredibly generative, and I continue to feel closely connected to this particular group of performers. 

I spent a few months re-writing the script based on the feedback from the workshop before joining Liam, Kate, and Sarah again as a Collective in Residence at the Royal Manitoba Theatre Centre for 40 hour residency in which we brought in musician Hayden Siemens and focused on the music in the show: the dramaturgy of the music, the creation of new songs, and the creative relationship between the queer sibling characters. As seems to be the case any time I join a group to work on this play, our time was enormously productive; we seemed to do months’ worth of work in just a few days. 

Since that residency, Liam and I have continued to work together dramaturgically with support from the Manitoba Arts Council. We decided to take the week at PWM to focus on James’s trajectory and the ways in which the play can be a healing journey for him: a story of resilience and of coming into oneself.

As a queer artist, I seek to make work that is as complex as the communities with whom it is in dialogue with. Throughout our process, we’ve worked continuously to create more trauma-informed spaces. We structured this residency with check-ins, scene-by-scene read throughs, robust dramaturgical conversations (which inevitably involved cue cards taped to the wall), and check outs. We took long lunches. We allowed ourselves shorter days, and time to stretch. All of this might sound trite, but as an artist with a full-time job in education, the days I have to make theatre feel precious and urgent. It’s my tendency to push. And so too it must be my practice to build out space for myself and my collaborators to be well–to be as safe and self-determining as possible throughout the entire creation process.

PWM offers a space for artists to create outside of the pressures of imminent production. This is vital, as is their practice to support artists holistically over time. My ongoing relationship with the artists I’ve met through creating O Death has been hugely impactful. I will continue to work with Sarah dramaturgically for as long as she’ll have me; in addition to O Death, I’m working with her on my new project Cult Play. Since meeting Kate, we have become writing partners, working long-distance from Canada to Scotland on our TV series called Make It. And I can’t imagine working on another play without Liam–someone whose collaboration and friendship has completely opened up the possibilities for me as a theatre artist and human being; I’ve often walked away from our dramaturgical meetings feeling that not only the work, but I, have been transformed in a meaningful way. 

I can’t wait to be in the room with these brilliant artists again. In the meantime, the next step for me is a writing residency in Riding Mountain National Park for two weeks in the summer. Since O Death is set in a house in the woods, I can’t think of a better place to hide out and finish the next draft.

New Application Process for Dramaturgical Collaboration at PWM

Image with text which reads: "New Application Process"

We are excited to introduce a new application process for Dramaturgical Collaboration to welcome artists and projects to PWM in our 2022-2023 season.

Thank you for your interest! Applications are now closed for our 2022-2023 season. Once we finalize our current season we will open applications for next year!


How to Apply

You can apply for Dramaturgical Collaboration via the google form. Audio and video applications are also welcomed. Please forward audio or video applications to dramaturg@playwrights.ca.

We encourage you to familiarize yourself with Dramaturgy at PWM before submitting your application.

If you have any questions regarding accessibility, or require assistance with this application, please contact accessibility@playwrights.ca. For accessibility information and video tours of our location, please click here.

The application form will remain open year round, but a selection committee will be formed once a year to choose projects for the upcoming season. For best consideration for the 2022-2023 season (August 2022-June 2023) please submit a form by Feb 18th, 2022 at 11:59 PM. All applicants will receive a response by email in April 2022 informing them of the outcome of their application. We welcome individual playwright/creator(s) and collectives to apply. We welcome local and national applications. If you are a theatre company, please contact PWM’s Artistic Director at sarah@playwrights.ca to discuss Dramaturgical Collaborations. 

We are accepting applications for projects at any stage of development. It could be an idea, a first draft (in whatever form that may be), or a new iteration of a project that has already been shared. It could be a play, a performance, a digital work (for example: AR/VR, interactive game-based presentation, live or prerecorded virtual performance) or something hybrid in terms of language, discipline, or technology.

If you have any questions regarding application criteria, please contact dramaturg@playwrights.ca


About Dramaturgical Collaboration at PWM

Dramaturgical Collaboration at PWM will include Dramaturgical Conversation and may also include one or a combination of the following opportunities to be determined mutually by PWM and the playwright/creator(s) according to the needs of the project: Workshops, Residencies, Mentorships, and Public Readings. A glossary of these terms can be found here.

PWM has numerous ongoing projects, including those delayed due to COVID-19 that the organization continues to be committed to. Therefore, at this time, PWM will be welcoming a limited number of new projects. In accordance with PWM’s strategic goals for outreach, we will continue to maintain the flexibility to reach out to playwrights/creator(s), and work that inspires us.

PWM is committed to creating an environment where all individuals are treated with dignity and respect.  We are continuously working to make all of our programs accessible and inclusive. 

PWM welcomes all applicants 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+, d/Deaf, 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.


Application Form for Dramaturgical Collaboration at PWM

You can apply for Dramaturgical Collaboration via the google form. Audio and video applications are also welcomed. Please forward audio or video applications to dramaturg@playwrights.ca.

We encourage you to familiarize yourself with Dramaturgy at PWM before submitting the application.

Your proposal will not be sent until you click the SUBMIT button at the end of the application via the google form. You will be able to edit your responses until the application’s deadline by reusing the same email address and login.

The deadline to submit is February 18, 2022 at 11:59 PM. All applicants will receive a response by email in April 2022 informing them of the outcome of their application.

If you have any questions regarding accessibility, or require assistance with this application, please contact accessibility@playwrights.ca. For accessibility information and video tours of our location, please click here. If you have any questions regarding application criteria, please contact dramaturg@playwrights.ca.

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 here.

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
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