Canada’s longest-running new works festival is a hotbed of experimentation, where artists explore new possibilities in theatre, dance, music, and performance art.
In 2021, Rhubarb proposes an alternative: the creation of a physical performative publication that attempts to capture the energy of Rhubarb and, perhaps, recreate the live performance experience itself.
Over 20 artists respond to the prompt to bring performances to the page, with some projects published in the festival publication itself, and other interventions performed on the book after printing. Contributions range from colouring pages to a fever-dream drag performance; from a meal to music inspired by the turning of a page; and from choreographic scores to unearthed histories, real or imagined.
How do disabled people experience theatre, as both audience members and performers? How has the institution of theatre responded to disability over time? How can we create new spaces for performance and attend to different communities’ forms of expression?
Through case studies, this edited collection gives access to some of the leading organisations in the field, examining their creative processes and placing them in their historical context. In parallel, a series of interviews with individual artists explores their approaches and how they are re-shaped by the communities that they encounter.
Part of the Library of Performing Rights (LPR) (P3041).
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
Presents a combined analysis and workbook to examine “socially engaged performance.” It offers a range of key practical approaches, exercises, and principles for using performance to engage in a variety of social and artistic projects.
Written by Simon Casson, producer of Duckie, this is a polemic letter responding to the consultation towards the McMaster Review for James Purnell and the Department of Culture Media and Sport, condemnning the state of art-funding.