The Friday Five, February 10, 2012

FIVE THINGS CHRISTOPHER PLUMMER NEVER SAID (BUT I LIKE TO THINK HE DID)

Canadian Icon, Christopher Plummer says a lot of things. He has never said any of the following, but sometimes, when I lie awake at night, I imagine that he has. Come, imagine with me...

by Matt G of Matt and Kyle and Matt

CharPo's Real Theatre!, February 10, 2012

CPM's Picture of the Week, February 9, 2012

Trent Pardy and Julia Course in Scientific Americans at The Segal with Sidemart Theatrical 

Grocery (photo: Andrée Lanthier)

EVENT: Gollywog

Blog: Crystle Reid on ArtHere!, February 8, 2012

Hayley Lewis and Isaac Bell of All The Fixin's Theatre

(photo credit: Kes Tagney)

February 8, 2012

The People

by Crystle Reid

The deadline for people to submit performance pieces to ArtHere! is like Christmas Day for me.  I even check my email right after midnight, just to see if there are any stragglers.  And this year my “presents,” for ArtHere! look really good.  We never force a theme on the event beyond the space itself.  One usually emerges as everyone separately submits.  This time around it’s shaping up to be a favorite of mine: carnival. 

Beyond Our Fourth Wall, February 8, 2012

A disconcerting look at the indifference of Western countries to war and child soldiers in Africa

Après-moi, le déluge

Feb. 21 – Mar. 18 Théâtre Quat-Sous 

Theatre…en français

by Estelle Rosen

Two orphans on a journey to decipher their place in society in a play by the mysterious Réjean Ducharme.

Ines Pérée et Inat Tendu

Feb. 21 – Mar. 10 

Théâtre d’Aujourd’hui

Ageing man realizes there’s no time to waste; one has to be happy…the road to happiness has many detours.

Cranbourne

Salle Fred-Barry

Feb. 29-Mar. 17

Who is what, when and why? How do our instincts affect our bodies? How dependent are we on our drives and (how long) can we control them?

Birth Of Prey

Feb. 23-25 Usine C

After Dark, February 7, 2012

On The ROC And Le P'tit Québec
The dangers of villagery
By Gaëtan L. Charlebois

A Facebook friend of mine made a surprising statement this week. "What happens in the ROC doesn't interest me."

ROC, for those of you who are from the ROC, is what people in Quebec call, mostly pejoritively, the Rest Of Canada. (In French they don't even need the "Rest of" - we're Quebec, you're Canada.) The use of the term signifies two beliefs: that Quebec doesn't care about Canada and that Canada doesn't care about Quebec. There may be a grain of truth in this and that depresses the hell out of me.

EVENT: ARTS & CULTURE COMMITTEE / OCCUPY MONTREAL

ARTS & CULTURE COMMITTEE / OCCUPY MONTREAL

Friday, Feb 17, 5pm-7pm

4521 St Jacques, just west of Metro St-Henri

We are organizing a new, city-wide Arts & Culture Committee to support and participate in Occupy Montreal, and invite other artists from all disciplines (music, poetry, theatre, film, dance, graphic design, literature, web art, etc.) to come to a first meeting to brainstorm. 

The Upstage Interview: Manon Manavit of Theatre_Business

Maybe if theatre students are less afraid to use business concepts, they might be more successful.

Upstage contributor Stephanie Breton spoke with Manon Manavit Assistant Director of Theatre__Business: Fill Us In. Concordia University Theatre students attempt to connect with their Business student co-tenants when they find themselves sharing the same building (The John Molson School of Business). Their struggle plays out against the backdrop of Canada’s fierce debate about public funding for the Arts. Below is an abridged version edited by Estelle Rosen, CharPo Editor-in-chief.

UPSTAGE

Why the underscore in the title instead of a slash?

MANAVIT

Because we’re not sure yet whether it’ll be a slash. We want it open ended for a lot of reasons. We’re not sure what the outcome will be. We have the show but in terms of the kind of dialogue we hope to create, we’re very excited for that blank to get filled in.

The Sunday Read: First Person: Cameryn Moore on Phone Whore, slut (r)evolution and power / play

Are you out there? This is Cameryn...

Challenging oneself by "using" the audience

by Cameryn Moore

The first iteration of my first solo show Phone Whore was not a monologue; it was a dialogue between me and a recorded voice, that of an invisible interviewer for a would-be documentary. That character was represented in the performance space by a prop video camera on a tripod, just standing there in the center aisle. That voice asked me questions, and I answered them.