Produced by Small Wooden Shoe with assistance of One Yellow Rabbit’s High Performance Rodeo, Calgary’s International Festival of the Arts And in association with Buddies in Bad Times Theatre.
March 31 – April 12, 2009 | BOX OFFICE 416-975-8555
Buddies In Bad Times Theatre, Toronto ON | artsexy.ca | smallwoodenshoe.org
“Expect a relaxed and intelligent interaction that discards a lot of the assumptions and obstructions of conventional theatre for a more convivial night out.” – Carl Wilson, zoilus.com
A performance about the seven scientific revolutions someone said changed the world.
And their effects on our lives. Gutenberg | Copernican | Newtonian | Industrial | Darwinian | Nuclear | Information With whiteboards, songs, and demonstrations.
Top 10 Artists of 2007
“ingenious theatre”
– NOW Magazine
Small Wooden Shoe demonstrates the difficulty of demonstrating the effects of progress on our lives. Six performers, not in any way experts in science, attempt to understand how we got to this point in history and how to share what they’ve discovered with an audience using things they found around the house. Absurd and delightful with a critical eye and a casual formalism, Small Wooden Shoe tries to help – and believes live performance might just be the best way. Created by Frank Cox-O’Connell, Chad Dembski, Ame Henderson, Erika Hennebury, Gillian Lewis, Aimée Dawn Robinson, Trevor Schwellnus, Erin Shields, Evan Webber and Jacob Zimmer. Intimate, fun, vulnerable and smart, Small Wooden Shoe engages with the world in an honest, informal way while maintaining the need to step up and entertain.
Buddies In Bad Times Theatre 12 Alexander Street, Toronto, ON, Canada
Box Office 416-975-8555
SummerWorks 2009 is a juried theatre and arts festival of approximately 40 one-act plays, 8 concerts and multiple performance pieces, that runs for eleven days from August 6-16, 2009 in Toronto.
PERFORMANCE GALLERY INFORMATION
Launched in 2008, The Performance Gallery (Inside the Box) was one of SummerWorks many new initiatives and featured an eclectic group of artist offering everything from short plays to dance to performance art to improvised concerts.This year we return to the Gladstone (Aug 6- 9 & Aug 13-16th) and are seeking site-specific but not necessarily site-themed pieces (7-10minutes) in all performance mediums.What would you do in a completely empty hotel room or the hallway in between?What is the importance of the audience to this piece?Does the risk and imagination stretch beyond the physical confinements?
SELECTION
Please follow the guidelines below when putting together your proposal for the Performance Gallery. All applications should include:
Letter of Intent: Maximum 2 pages, giving an overview of your work, this project, where it is at in its development, what you plan to do, and how you plan to do it. What excites you about it? Please specify whether you are looking to perform for one night or the duration of the gallery.
Support Materials: (Optional) We will accept up to three pages of support material for you and your project. These can include resumes, short bios of key members in your team or letters of support from professional artists if the jury may be unfamiliar with your work. Please do not exceed the maximum of three pages.
RULES & REGULATIONS
Your piece MUST be between 7-10minutes and be able to be performed several times a night in rotation with the other pieces.
Occasionally the Gladstone hotel will require use of your room during the day, which will require you to completely strike your show for the duration of that time.
Summerworks will provide each participating artist with an empty room/spaceon the second floor of the Gladstone hotel.
Summerworks will provide each participating artist with a small stipend for participating to be determined based on duration of participation.
Each artist must comply with the rules set out by the Gladstone hotel in terms of room usage and damage (painting, hanging things on walls etc..)
Submissions will be assessed based on artistic merit, clarity of vision, and balance with the other pieces selected.
The deadline for submissions is Friday April 3rd 2009 by 7:00 p.m.
LIMITED SEATING!! BOOK YOUR TICKETS NOW!! DATES: April 29 – May 2, 2009TICKET PRICES: 3 boxes for $15 or 6 for $25.00 BOX OFFICE: 416534-9261
The Theatre Centre is pleased to present an intimate installation performance BIO BOXES created by Vancouver’s Theatre Replacement. Originally co-produced by Theatre Replacement and Calgary’s One Yellow Rabbit High Performance Rodeo, this presentation of BIOBOXES is part of national tour that will be in Toronto for four days (April 30 – May 3, 2009) following their run at the National Art Centre’s BC Scene.
“BIOBOXES: Artifacting Human Experience” are six bilingual boxes in both English and other languages. Six second-generation Canadian artists of diverse origins will present performances drawn from interviews with six first-generation Canadians of the same culture. They will be performed by Anita Rochon, Marco Soriano, Paul Ternes, Cindy Mochizuki, Donna Soares, and Una Memsivic. “BIOBOXES” is directed by Maiko Bae Yamamoto and James Long and built by Kofu Yamamoto, with video design by Candelario Andrade, and dramaturgy by Kris Nelson.
Part installation, part performance, part theatre, “BIOBOXES” is a collection of one-person shows for one-person audiences that take place in an intimate theatre:a box worn on the actor’s shoulders. Modeled after a standard cardboard box, the theatres are 24 inches wide by 16 inches tall by 16 inches deep, and surround the actor’s head. Each box-theatre incorporates traditional theatre stage but in miniature: tiny set-decorations, props and lighting, used by the performer during each play. From his or her place on the theatre’s “stage,” the actor presents the piece to a one-person audience who has paid to see the play. Other viewers watch the spectacle as they move through the room.
Friday March 27, 2009 The Theatre Centre, 1087 Queen Street West, Toronto , 8PM, $5
FADO Performance Art Centre is pleased to present new performance works from Yaron David, Karin Mendelovici and Meir Tati. FADO asked Yaron David, curator and organizer of the Performance Art Platform in Tel Aviv to not only present a new work in Toronto but also gave him the task to choose two other artists that he felt represented the young and emerging performance scene in Tel Aviv. In turn, Yaron invited Karin Mendelovici and Meir Tati. David, Mendelovici and Tati will be in Toronto for 10 days for an intense working period. Informed by their personal histories and national politics, the performance in Toronto will be the culmination of a continuous and improvised performance and working process that began over a month ago. Combining video (documentation of this process, both indoor and out, starting in Tel Aviv and edited at the last moment in Toronto) and live actions, the work of these three young artists speaks to the loss of, search for and the production of meaning in a fragile and chaotic reality, the collaborative research of confusion.
Yaron David (b. 1970, Israel) works in video and performance art. He is also a curator and is active in the performance art scene in Tel Avis, working with and organizing events with PAP (Performance Art Platform) including a monthly performance event (2004-2008), as well as the ZAZ International Performance Art Festival (2007, 2008). He is a freelance writer and editor, working with museums in Tel Avis, Haifa and the art academy in Bezalel. David’s work has been presented at international festivals in Israel, Crotia, UK, Finland, Istanbul, Poland, France and at the National Review of Live Art in Scotland, among other events and exhibitions. This will be David’s first appearance in North America.
Karin Mendelovici (b. 1975) is based in Tel Aviv. She works in photography, video and performance. Her performance work has been primarily presented in Tel Aviv, especially in cooperation with PAP (Performance Art Platform). This will be Mendelovici’s first appearance in North America.
Meir Tati (b. 1973, Israel) works in video and performance. Recent exhibitions have included the Moscow Biannual for Young Art (2008), and presentations at EPAF (Warsaw), ZAZ Festival (Tel Aviv) and other exhibitions and performances in Italy, Germany and Istanbul. Tati recently finished an artist’s residency in Copenhagen. This will be Tati’s appearance in North America.
About FADO
Founded in 1993, FADO Performance Art Centre was established to provide a stable, knowledgeable and supportive forum for creating and presenting performance art works created by Canadian and international performance artists. FADO is the only artist-run centre in English Canada devoted specifically to this form. FADO’s activities include presenting performances, artist talks and symposia, festivals, residencies, exchanges and workshops, as well as publishing in a variety of formats, including video and for the web. FADO is pleased to acknowledge the ongoing support of the Canada Council, the Ontario Arts Council, the City of Toronto through the Toronto Arts Council and the Department of Canadian Heritage.
FADO would like to thank the Canada Council for the Arts, Department of Canadian Heritage, Ontario Arts Council and the Toronto Arts Council for their on-going support of our endeavors.
April 2, 2009- 8pm. Tickets- $15, The Theatre Centre - 1087 Queen St. West
Inspired by her Abenakis grandmother and Aboriginal and Taoist ceremonial rituals, Marie-Claude Rodrigue’s contemporary choreographic work, Women’s Territories- Territoires Féminins, brings a new approach to live performance.
In Women’s Territories - Territoires Féminins, Marie-Claude evokes the contemporary rites of passage that link women to the changing of seasons.The cycles found in nature - from death to rebirth - are vividly brought to life on stage, with poetry by Judith Duerk, alongside a compelling combination of video, music, costume, scenography, and lighting.These elements take the spectator on a journey to a meditation state and to the world of Yin energy.
Marie-Claude Rodrigue trained in contemporary dance at the Université du Québec à Montréal (UQAM) and at the Ateliers de danse moderne de Montréal (LADMMI).For thirteen years, she worked as a contemporary dancer and teacher with the internationally acclaimed O Vertigo danse company.Her passion for the performing arts has led her to include voice work, theatre, contact improvisation, tango dancing, and various somatic release techniques.She is founder and director of “Danse Fragments Libres”, an organization that reflects on inter-cultural dialogue and the sacred aspect of art.
Established in 1993, Native Women in the Arts is a not-for-profit organization for First Nations, Inuit and Metis women from diverse artistic disciplines who share a common interest in culture, art, community and the advancement of Indigenous peoples.Founded by Sandra Laronde, Native Women in the Arts is an essential anchor organization in Canada, and has fostered the artistic careers of thousands of women and female youth. NWIA produces unique artistic programming while developing, supporting, and cultivating Aboriginal women in the performing arts, literary arts and publishing, visual arts, and community development projects.
Tickets at the door or in advance by phone, 416-598-4078.
For more information, please email us at info@nativewomeninthearts.com.
The fear is that these large institutions, who should be the bookend of a line that starts at at somewhere like the Fringe, are set to bypass this healthy continuum completely. Tied to their success is this new formula, and within the formula, completely new indicators are being considered. Scale, reach, economic impact, and growth of the tourism industry are now deeply tied to arts funding from public sources, and connected in the minds of many private donors as well. Success in these indicators comes with serious risk-aversion. This risk-aversion results in many things - most concerning is the interruption of the line between the independent artist’s voice and the resources that could empower them to speak louder. This is not to say that these organizations don’t WANT to participate in the cultural continuum - we know that their ranks are made up of our peer artists and thinkers - but that their ability to engage with us, to share their hard won resources, is being diminished by culture policy set outside our community.
As the independent community continues to grow in sophistication and to mobilize, we must act in support of these large institutions to make sure that they remember us, share with us, and most importantly know that they have the backing of their community to include in their measurements of success (and what they report to their funders) the qualitative value of their artistic endeavours. In turn, they must share with us some of their political capital, their expertise, and their resources to make sure that as Toronto’s cultural rejuvenation grows, the artists who planted its seeds are still there to reap some of the fruits of their labours.
April 2 – 5, 2009, Toronto, ON…PCC Toronto asks the question “What has changed?”.The Images Festival, Harbourfront Centre, Small Wooden Shoe, Buddies In Bad Times Theatre, The Theatre Centre, Dancemakers, and SummerWorks Festival come together in April to host the 11th meeting of the Performance Creation Canada Network.
WHAT IS PCC?
Performance Creation Canada (PCC) is a nationwide network dedicated to the nourishment, management and study of performance creation in Canada, and the ecology in which it flourishes. The meeting is aimed at creating a discussion between artists in dance, theatre, music, film, and visual arts who are interested in the well being of Canadian performance creation. The conference is designed to open conversation, and open minds.
KEYNOTE & SCHEDULE OF EVENTS:
The PCC Toronto Networking Event will feature keynote speaker: video and performance artist Jillian Macdonald. Jillian Macdonald is a Canadian artist, currently living in New York. She is Associate Professor of Fine Art at PaceUniversity, where she also curates and co-directs the Pace Digital Gallery. Works in progress include video installations Slasher Cycle and Zombie Field; and an upcoming forest performance in Sweden called Zombies vs Vampires. For more info about Jillian Macdonald visit her online at www.jillianmacdonald.net . A full schedule of panels, performances and events will be available soon at pcctoronto.wordpress.com.
The PCC Toronto Networking Event will be hosted/presented in conjunction with The Images Festival, Small Wooden Shoe’s production of Dedicated to the Revolutions, Harbourfront Centre’s World Stage/Images co-presentation of Make Me Stop Smoking by Rabih Mroué, Native Women in the Arts in association with The Theatre Centre’s presentation of Territoires Féminins by Marie-Claude Rodrigue, hum’s open studio showing of The Bacon Project, Buddies In Bad Times Theatre’s presentation of Fishbowl: a concise, expansive theory of everything, by Mark Shyzer and The Theatre Centre’s 30th Anniversary Celebration: BLOCK ON ONE SPOT.
TO REGISTER:
To register for PCC Toronto, send an email with your name, title & organization (where applicable) address, email address and phone number to pccregistration@theatrecentre.org. Registration fee is $10 and will be payable in cash at the registration table at all PCC events. Discounted tickets for The Images Festival, Dedicated to the Revolutions, Me Stop Smoking, Territoires Féminins, The Bacon Project, Fishbowl andBLOCK ON ONE SPOT will be made available to all conference participants upon registration.
For more information: pcctoronto.wordpress.com / www.performancecreationcanada.ca
A sneak preview of BIOBOXES is on youtube. BIOBOXES is a collection of one-person shows for one-person audiences that take place in an intimate theatre: a box worn on the actors’ shoulders. Six artists of diversity created bilingual performances drawn from interviews with six first-generation Canadians of the same culture. BIOBOXES runs from April 29th to May 2nd.
