Why we like (fake) reality
The attraction to the real that I have observed anecdotally in audiences arises, says David Boyle, because for the last century or so we have lived in an increasingly artificial […]
The attraction to the real that I have observed anecdotally in audiences arises, says David Boyle, because for the last century or so we have lived in an increasingly artificial […]
This invariably happens when I am in the reading phase of a research project. I will encounter an article or chapter or book that from the library catalogue sounds like […]
The 2012 production of Cymbeline at the Stratford Festival reminds me of the last time I saw Cymbeline at the Festival. It is 2004 and I am sitting in the […]
On the recommendation of my colleague Grahame Renyk, I finally got around to reading “Infiction and Outfiction: The Role of Fiction in Theatrical Performance” by David Z. Saltz. (Full citation […]
Certainly a project that takes the performance of the real on stage as its primary point of departure must be interested in verbatim theatre. (Verbatim theatre refers to the practice […]
Yesterday, on the suggestion of my colleague Ted Little, I visited the Centre d’Histoire de Montreal in Old Montreal. There, the section “We Are Here/Nous Sommes Ici” presents the final […]
“Who is Antigone for you today?” This is the central question posed by the company MOTUS of Rimini, Italy producers of Alexis, Una Tragedia Greca, presented in Montreal at the […]
At a very basic level, the negotiation between the two synchronous worlds of the actual and the fictional forms the foundation of what makes theatre theatre, distinguishing performance from life. […]
Taking my cue from two of my social media savvy colleagues — Marlis Schweitzer (Theatre Studies, York U) and Jill Scott (Languages, Literatures, and Cultures, Queen’s University), I have decided […]