Kris Joseph loves technical rehearsals? Read about the preparations for NAC's A Christmas Carol. [Kris Joseph Struts And Frets]
Writers from The Globe and Mail remember Goldie Semple. [Nestruck On Theatre]
Michael Wheeler wonders if the Harold Green Jewish Theatre Company is going into seclusion. [Praxis Theatre]
Monday, 14 December 2009
Wednesday, 9 December 2009
A Young Actor's Journey, or all we are is dust on the dashboard
by Tim Chapman
Professional Theatre Coordinator
(This article first appeared in Theatre Ontario's December 2008/January 2009 newsletter)
In my position with Theatre Ontario, I give advice to a lot of actors who are beginning or in the early stages of their professional careers. For this newsletter, I interviewed 31-year-old actor Jenny Young about the first nine years of her professional career. I spoke to her just before a rehearsal of Kindertransport, the latest show produced by the successful new Toronto theatre company, Harold Green Jewish Theatre. I was curious to see if many of the stereotypical preconceptions of a young actor’s career were reflected in Jenny’s thus far.
Professional Theatre Coordinator
(This article first appeared in Theatre Ontario's December 2008/January 2009 newsletter)
In my position with Theatre Ontario, I give advice to a lot of actors who are beginning or in the early stages of their professional careers. For this newsletter, I interviewed 31-year-old actor Jenny Young about the first nine years of her professional career. I spoke to her just before a rehearsal of Kindertransport, the latest show produced by the successful new Toronto theatre company, Harold Green Jewish Theatre. I was curious to see if many of the stereotypical preconceptions of a young actor’s career were reflected in Jenny’s thus far.
Monday, 7 December 2009
Recommended Reading
ED - Yes, this feature deserves a catchier name.
Tara Beagan writes about offenses and apologies - Native Earth and the Toronto Star, SummerWorks' promotion, and Neptune Theatre's Equity call for Peter Pan. [Praxis Theatre]
Marcia Johnson writes about the International Women Playwrights Conference in Mumbai, India. [NSAA: Obsidian Theatre Company]
Tara Beagan writes about offenses and apologies - Native Earth and the Toronto Star, SummerWorks' promotion, and Neptune Theatre's Equity call for Peter Pan. [Praxis Theatre]
Marcia Johnson writes about the International Women Playwrights Conference in Mumbai, India. [NSAA: Obsidian Theatre Company]
Friday, 4 December 2009
Theatre Ontario Seeks Nominations For 2010 Sandra Tulloch Award for Innovation in the Arts
Theatre Ontario is issuing a call for nominations for the 2010 Sandra Tulloch Award for Innovation in the Arts. The award is presented annually to an individual or a collective who has demonstrated leadership over a long career, and a passionate commitment to deepening the scope and broadening the appeal of the arts in Ontario through innovative and practical initiatives.
For more information on award criteria, past recipients, nomination deadline and procedures, please visit the Sandra Tulloch Award for Innovation in the Arts (on the Theatre Ontario website.)
For more information on award criteria, past recipients, nomination deadline and procedures, please visit the Sandra Tulloch Award for Innovation in the Arts (on the Theatre Ontario website.)
Wednesday, 2 December 2009
Yes, We Can
by Dennis Johnson, Community Theatre Coordinator
One fairly basic definition of Community Theatre could include the words “theatre by the community, for the community.” Our directors, actors, technicians, and production staff are local—people who have put down roots in one community and practice their artistic inclinations in that place for an audience who is also rooted there. We are citizen artists. Professional performers are historically people on the road; it is a rare opportunity for them to put down roots in one community.
But can Community Theatre be “theatre of the community” as well? What is the source of the content of our productions? Are the stories we tell a product of our own experience? Do we encourage the work of local playwrights?
One fairly basic definition of Community Theatre could include the words “theatre by the community, for the community.” Our directors, actors, technicians, and production staff are local—people who have put down roots in one community and practice their artistic inclinations in that place for an audience who is also rooted there. We are citizen artists. Professional performers are historically people on the road; it is a rare opportunity for them to put down roots in one community.
But can Community Theatre be “theatre of the community” as well? What is the source of the content of our productions? Are the stories we tell a product of our own experience? Do we encourage the work of local playwrights?
Subscribe to:
Posts (Atom)