| The RED Letter, Jan 2006 |
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Hi everyone, Table of Contents
1. Words from Lisa Pijuan-Nomura
7 Things I Want to Do in 2006.
I wish you all a wonderful new year and I hope that you are happy and well! Regards,
2. Interview with Curators of the FREE FALL Festival, Stephen O’Connell, David Duclos, and Franco BoniTell us about the history of the Free Fall Festival and how it came to be? Stephen: FREE FALL initially started as a proposal to organize a national symposium of marginalized performance in the form of an artistic refugee camp in Toronto called DIASPORA. We didn’t receive funding for that project so over breakfast at the Lakeview David and I instead decided to collaborate on a program of interdisciplinary and new performance to be hosted by the Theatre Centre inspired by a previous Theatre Centre series called FREE FOR ALL. We changed the name in order to distinguish it from its predecessor and because we thought FREE FALL more accurately captured the spirit of the artists we had considered for programming. The first year we had no budget. We simply tried to pull together a community of artists who shared an aversion to convention and asked them to pretty much self-produce under the banner of FREE FALL. I seemed to remember David being more interested in new approaches to the creative process and I was interested in supporting a venue for interdisciplinary work and we both shared a vision and passion for innovative performance work. At the time it seemed like some of the most exciting work being created in performance was being funded through the relatively new interarts program at the Canada council. For some of the readers who don't know, What exactly is interdisciplinary performance? David: The InterArts office at the Canada Council defines interdisciplinary work as a process that integrates and transforms distinct art forms, with the resulting artwork being outside the framework of usual disciplines. I like the idea that interdisciplinary art combines different and distinct artistic practices. I'm attracted to the possibility that the territory "outside the framework" might be more permissive and untamed than the usual. In the past few years it seems that more and more artists are interested in creating interdisciplinary work. Why is happening? David: We live in the information age. The generation of artists who have recently come into practice, are the first generation to benefit from the IT revolution. There is so much knowledge, on such vastly different topics, that is readily available to any enquiring mind, that the individual is free to assemble and test as she wills. As a civilization, we have also developed an unprecedented capacity to manipulate, process and preproduce images and sounds. It is a syncretic age, and syncreticism finds it's artistic home in interdisciplinarity. Franco: In the last half century the planet Earth has become tiny. McLuhan's Global Village is here. China, southeast Asia, Pakistan, the Middle East and the Gulf of Mexico are everyday just around the corner neighbours. Why do you feel it is important to present interdisciplinary performance? Stephen: FREE FALL is not just interdisciplinary. That’s just one aspect of the event. Last year for example we invited a stand up comedian named Glenn Christie to present a one-man show at the Gladstone and I wouldn’t call his work interdisciplinary. We all thought Glenn’s work was challenging and innovative in its own right and deserved support. I feel it necessary to present and support artists who are artistically challenging both themselves and their audiences. The focus of FREE FALL was and still is to highlight innovative performance work by Toronto artists and to create an audience for new performance by creating a pan Canadian context for their work. David: Interdisciplinary performance needs its audience, just like any other performing art. The festival format is a proven path to developing an audience. It provides a context for the public to approach work which might confound conventions or otherwise challenge expectations; and it provides the artists with a cushion and a safety net. Beyond that, I feel that interdisciplinary practice is important precisely because it encourages collaboration, diplomacy and cooperation, and the development of syncretic faculties; it fosters an open mind and a generousity of spirit. Franco: Theatre must respond to our dramatically changing world. Our mainstream theatre is becoming turgid. Interdisciplinary performance is international and universal (multi-cultural). It unifies its audience in understanding, not language or literature but images, sounds and feelings. It is also most effective as a live medium while "drama", that is a sequence of arched scenes is now most effectively produced on TV and in film. What is your personal experience in this sort of creation? Stephen: I have always defined my own practice as being interdisciplinary because What does the future see for Free Fall Festival? Stephen: I think FREE FALL fills a much-needed niche in Toronto. There are already a number of wonderful festivals that take place over the course of the year that supports new theatrical work and there is also the 7a 11d festival that support performance art. However, there is also a large and possibly growing community of artists that are neither served by theatre, dance or performance art communities. These artists work often isn’t suited for theatres and unfortunately tends to fall somewhere between the cracks. FREE FALL can continue to distinguish itself on a national level by making refreshing and experimental performance works more accessible to Toronto audiences. David: The future of Free Fall is others' hands now. I'm happy to have done my part, and confident that Free Fall will grow and become better with each incarnation. Franco: Presenting good work, continuing to collaborate with artists of all disciplines, maintaining a national perspective, and growing our audience. Advice for artists wanting to create interdisciplinary work? Stephen: I have always found collaboration to be a highly effective and underrated form of learning and creating, particularly in interdisciplinary performance. I try to collaborate with artists who I not only respect highly, but whose area of expertise is different than my own. In these relationships I aim toward an equal exchange of information and methodology while navigating our way through a creative process. David: Advice: come to Free Fall, meet the artists, see the work, ask lots of questions, and don't forget to listen. Franco: My best advice is that you don't need permission. Performances at FREE FALL Festival RED: A Night of Live Performance RED: A Night of Live Performance is held bi-monthly at the beautiful Lula Lounge. The February RED features: Meagan O’Shea and Aviva Chernick – Dance Theatre and Song And a few more surprises!
Fragments Built around the dynamic fragmentation of image and sound, Fragments presents a universe where images are enriched through a new means of representation. The soundtrack, an assemblage of poetic compositions reflecting our different perceptions of the world, is inspired by Samuel Beckett’s That Time, which is integrated into the work. We are transported into the world of a man reexamining three different times of his life. This strength of this man, who now lives solely in his head, is to envision possibilities and bury the unbearable present. Each individual possesses but one version of the 6 billion ways of looking at world. When faced with the unknown, we all have to carefully choose our own view. When faced with the known, we may have to readjust our vision. Our Town [revisited] Our Town [revisited] is an original adaptation of Thornton Wilder’s modern masterpiece. The audience for this unique event is seated around a large wooden table in the center of the space. The table serves both as the stage and as the shared space of communion where the audience and the actors will meet in their imaginations. It invites intimacy and evokes community. The story of love, loss, and all the details in between is an exploration of the divinity inherent in the trivial, and the eternity inherent in communion
ATTACK #12 After a successful tour of Attack #8 to Toronto’s Yonge and Dundas Square, ATSA returns with Attack #12. Annie Roy and Pierre Allard begin by talking about their experience on tour with the controversial installation, followed by an “attack” that will require your participation.
The Perfectionist The Perfectionist follows the deceptively simple lives of a man and a woman in their hilarious and heartbreaking attempts to hurdle their own impossibly high standards. In this collaboration, mediums collide as the quirky imagery of Yukon animation artist Jay White, the evocative lighting of John Webber, the haunting compositions of Joelysa Pankanea, and the engaging performances of Sherry J Yoon, Jay Dodge and Steve Charles come together under the inventive direction of New York's Jill A. Samuels.
trilogie trilogie looks at three primary themes: 21st century futility, the flexible nature of time, & communication failure. All of these themes in the context of the piece address various political, personal and artistic concerns. Under the creation guidelines of the manifesto, (see website) trilogie comprises the three works; I like you (2002), where you are now (2003) and 8:00 (2004). Through emergency exit we are creating a charge between performer and audience, not unlike that energy which exists in a live music forum. Our working aesthetic is a collision of frenzied channel changing, flashing lights, instruction manuals, safety pamphlets, air traffic control panic, signs and regulations, motion and static in time, the universal truth, faulty prescriptions, missed navigations, complications and emergencies of a microscopic and/or telescopic nature
Haircut Haircut is an interactive multi-media performance piece/installation. It begins in the past, with the life of a barber and his client and ends in the present where people are invited to perform the roles of barber/hairdresser, client, and photographer.
The Cabinet of Dr. Caligari The Cabinet of Dr. Caligari is a live musical score set to the German silent film (1919) of the same name.
For dates and times please see the FREE FALL flyer. FREE FALL is curated by, Franco Boni, David Duclos Single Tickets: $20 reg. / $15 artists Most events at The Theatre Centre, 1087 Queen St. West (SE corner of Queen and Dovercourt, entrance on Dovercourt). Check schedule for venues.
3. Feature Show: Bombay Black
CAHOOTS THEATRE PROJECTS Presents the World Premiere of BOMBAY BLACK Bombay Black is a love story between a blind man and a dancer. Set in present-day Bombay, this sensual new drama by playwright and novelist Anosh Irani is a tale of seduction, betrayal, revenge, and that leap of faith called Love. In a seaside flat, the iron-willed Padma takes money from men so they may watch her daughter, Apsara, perform a mesmerizing dance. Apsara's extraordinary beauty and erotically charged dancing cast a powerful spell over her wealthy and famous clientele. One day, a mysterious blind man named Kamal visits for a private dance. Kamal is somehow linked to their past. His secret threatens to change each of their lives forever. Welcome to the world of Bombay Black. Bombay Black is a remarkable new Canadian work — at times, lyrical and funny, at other times chillingly brutal.Irani creates some haunting, unforgettable images: a mother threatening to feed her daughter to ravenous birds, a grieving widow covered in her husband's ashes, two lovers soaring over the Gateway of India in a flying carriage. Though at times he presents us with some disturbingly dark images, Irani's Bombay Black is ultimately a poignantly romantic vision. By seamlessly weaving realism with elements of myth and magic, Irani takes his characters (and consequently, the audience) on fantastic voyages of the imagination. Cahoots Theatre Projects has assembled a first-rate team to bring this play to life. Brian Quirt, Dora-nominated director and Artistic Director of Nightswimming Theatre, will direct the superb cast of Deena Aziz (Padma), Anita Majumdar (Apsara), and Sanjay Talwar (Kamal). Camellia Koo is our set and costume designer; Dora award winner Bombay Black starts previews at The Theatre Centre on January 4.The World Premiere will be on January 8 and the production closes on January 22, 2006. WHERE: WHEN: TICKETS: Performances are: For more information, please visit http://www.cahoots.ca or call To order tickets, please call The Theatre Centre at 416-538-0988,
4. Performance Creation Canada(Note from Lisa: Performance Creation Canada is a very important conference happening in Toronto this year. I would highly urge artists to come and take part and have your voice be heard in this national forum. I do believe that the presence of Independent artists at this conference is essential and will culminate in important nation-wide conversations about the future of Independent Perferformance Creation. I look forward to seeing you there!)
Performance Creation Canada Conference: In February 2006, Performance Creation Canada comes to Toronto! In an exciting first-ever collaboration, Buddies in Bad Times Theatre (Rhubarb! Festival of New Works), the Theatre Centre (Free Fall) and Harbourfront Centre will co-host the Toronto meeting of Performance Creation Canada, February 2-5, 2006, with performances, events and panel discussions held at all three venues. Performance Creation Canada is a nationwide network dedicated to the nourishment, management and study of performance creation in Canada, and the ecology in which it flourishes. As such, Performance Creation Canada (PCC) will endeavour to identify and advance the multifaceted interests of a multidisciplinary definition of work that is performed by the artist(s) who created it. PCC invites the participation of all artists, administrators, educators, funding institutions, presenters, agents, archivists and critics from the fields of theatre, dance, performance art, music and interdisciplinary work who are interested in the well being of the Canadian performance creation milieu. Focusing squarely on the creators and posing the question, Where Are the Artists?, the conference in Toronto will explore the state of performance creation within broader artistic, cultural, political and social practices. Artists, practitioners and presenters from a wide range of locations, disciplines and traditions will gather to discuss such topics as: alternative models for new work development; the physical and metaphoric structures within which artists work; the position of the artist and artistic practice in contemporary culture; the politics of performance creation; and, the state of queer performance today. A great mix of national and local creators, producers and presenters will be on hand to meet and mingle for four fabulous, friendly days. All events take place at Buddies In Bad Times Theatre (12 Alexander St.), Harbourfront Centre (235 Queens Quay West) and The Theatre Centre (1087 Queen St. West). Contact abottomley@harbourfrontcentre.com or 416 952-7969 for more info. Updates available at www.girlcancreate.com/pcctoronto or www.performancecreationcanada.ca. Performance Creation Canada now has its very own online forum! Visit www.performancecreationcanada.ca/forum to register, find out more about PCC and get involved in the discussion!
5. Story Scene: Storytelling Events in TorontoStories are the backbones of our cultures, the way we describe the universe and one of the methods with which we humans try to understand the mysteries of our lives. People are fascinated by stories. We are delighted to invite you all to a new storytelling series -
We want to adventure into Wonderland, using our voices as our guides. We want to tell stories in all kinds of ways - visually, verbally, physically, silently. We want to do storytelling in a different way, and engage a bunch of other brave and wild explorers to come along for the ride. THIS MEANS YOU!! Co-curated by Ann McDougall, Noah Kenneally and Lisa Pijuan-Nomura, this twice-monthly romp into the realm of show and tell will thrill and inspire you. The set-up is : three storytellers, three methods, three moving and karma-altering adventures into the imagination. Come be dazzled, delighted, transported, transformed!! We will also have an open story jam that welcomes stories from you, our audience! Where is this amazing happening happening? When is this stupendous event eventing? January 15th session will feature telling by January 29th event will feature What else do I need to know about this fantastic function? This event is for adults who love stories. Stay tuned for a kid specific Speak event. Presented to you by GirlCanCreate, Cardboard Heart Imagination Laboratory, and Reflector Oven Theatre. For more info email lisa@girlcancreate.com or call 416-591-0225
Storytelling Atelier with Dan Yashinsky Every second Thursday evening throughout the winter and spring, TPL’s Storyteller-in-Residence Dan Yashinsky leads a storytelling workshop for new and experienced storytellers. Topics include: starting in the art; developing your repertoire; creating suspense with well-chosen words; discovering the world’s oral traditions; taking stories out to new audiences; family lore and life-based narrative. Every night will include storytelling by all participants, group discussion, creative exploration of words and stories, and individual guidance by the teacher. The atelier is for anybody interested in the art of oral storytelling: new tellers, experienced performers in all artforms, parents and grandparents, professional storytellers, teachers, social justice leaders, youth workers. Participants can come once or often. No pre-registration is necessary. 1,001 Friday Nights of Storytelling Every Friday night since 1978 storytellers and listeners have been gathering in downtown Toronto. Each evening is hosted by an accomplished storyteller. Anyone is welcome to tell a story. Every Friday night is unique. Suggested donation: $5.00 Time: 8:00 p.m. to 10:30 p.m. New Location!! Innis College Café 2 Sussex Street, Toronto.
6 Support Toronto Dance Artists!This past year we saw a decline in dance coverage in Toronto’s papers. It seems that to be a dancer in Toronto is a very difficult task these days. In an attempt to support the dance community, I urge you to go and see something new. Every January we are lucky to have Dance Weekend where you can go and see dance from many different companies in one venue. It’s a perfect place to begin if you are new to the movement world and don’t know what sort of work you might be interested in. Dance Weekend showcases some of Ontario’s finest dance companies in ten to twenty minute pieces that are being performed throughout the weekend. For more informantion on that and other companies see below! Dance Weekend Saturday, 21 January, 2006 Sunday, January 22, 2006 All performances are at Admission by Donation: $5 or $10 per day Dance Companies to Check Out Online! Julia Sasso Dance – www.juliasasso.com
This is a small handful of some of Toronto’s finest! Support Toronto Dance!
7. RED Update!
The next RED: A Night of Live Performance will take place The February RED features: Meagan O’Shea and Aviva Chernick – Dance Theatre and Song And a few more surprises! RED: A Night of Live Performance Box office: 416-591-0225 Check www.girlcancreate.com for complete line up!
8. Classes, Workshops and Conferences
HUB 14 presents make a point We offer you a whirlwind tour of debating: the basics of the form demystified, and some practical, hands on, no-holds-barred (but no hitting each other) debating action. Debate is a formalized system of (usually) logical argument. Rules governing debate allow groups and individuals to discuss and decide issues and differences. Debate is a common process in deliberative bodies such as parliaments, legislative assemblies, and meetings of all sorts. Outcomes of debates may be decided by voting, by judges, or by combination of both. Tim Maly spent 5 years wishing he could join the debate team, but it conflicted with band practice. When he finally joined, he fell in love. He did it competitively and then professionally and now he's doing it for love again. are you up for it? Other than that, workshop admission is FREE but space is limited to 20 participants (I have worked with Amanda before and I think that she is a genius! I would highly recommend this workshop to everyone!. – Lisa) Is Money Driving You Nuts? Bursting Money Myths Tuesday February 7, 2006 What is It? To register call 416-504-6429 ext. 36 or email duo@danceumbrella.net To guarantee your registration please send your seminar payment of $15 Cheques should be made payable to the Dance Umbrella of Ontario.
Come down to the Case Goods Warehouse and experience five wonderful opportunities to try your hand at a variety of creative endeavors. Sample various art forms in combinations of two 75 minute mini classes.Each Sampler Saturday is different, so try more thanone. Click on the link below to read all about these 5 specialSaturday mornings of artistic fun in January and February. Here's a quick overview:
For more information see http://www.ehmeglass.com/Amy_Flyer_Dec_2005/ss_index.htm Sampler Saturdays run from 9:00 a.m to noon,and cost $60.00 including materials unless posted. For more information call 416 425 0428, or email
9. Calls for SubmissionsCanAsian Dance Festival Call for Artists CanAsian Dance Festival is now accepting applications for the 6th biennial CanAsian Dance Festival taking place February 2007 in Toronto. The CanAsian Dance Festival fosters and promotes diverse expressions of Asian aesthetics through dance in Canada. The Festival presents concert performances, artist residencies and workshops. The selection committee is interested in the outstanding performance of traditional dance art forms, distinctive new choreography that comes out of traditional dance vocabularies, and original contemporary dance works that integrate Asian principles and concepts. When applying please include:
Send your complete application package to: CanAsian Dance Festival Inquiries may be e-mailed to info@canasiandancefestival.com www.canasiandancefestival.com APPLICATION DEADLINE: February 28, 2006 .
10. Read this Book! With Book Lady Sarah Selecky
This is one of my favourite novels, partly because the writing is tight and enigmatic and clean and surprising, and partly because it is playing with the idea of truth vs. fiction, novel vs. memoir. Gabriel English, the protagonist, is trying to write a novel, but he’s also falling in and out of love, jealousy and heartbreak in St. John’s, Newfoundland. This book follows him for one year (the book starts on New Year’s Day and ends on the 31st of December), as he observes the network of relationships in his community, tries to write a book, and, most poignantly, struggles with the decision to marry the woman he loves, or end the relationship. The book reads like an artfully edited memoir. Indeed, Winter has written a caveat on the opening page: “This is a work of fiction. Any resemblance to people living or dead is intentional and encouraged. Fictional characters and experience come to life when we compare them with the people and places we know. New experience is always a comparison to the known.” Here’s to that.
Oh, Russell Smith. I unabashedly go straight to his style column as soon as I get my Globe and Mail (and I know more than one man who is pleased that the brown suit, when chosen carefully, is still thought to be an elegant option for evening). I love his social commentary and sharp wit, and I especially respect his ability to dance across the boundaries between so-called high art (read: Literature) and low art (read: Fashion Column). Nobody does this as gracefully and elegantly as Russell Smith. His latest novel is a piercing social satire set in Toronto, right now, and with bang-on dialogue, sharply rendered scenes, and a smattering of letters, newspaper articles, and poems, Smith’s pointed eye does it again. He skillfully uncovers the pretensions of affected socialites, making you laugh and blush at the same time, because, like any good satire should, it sometimes cuts a little close to the bone. The novel poses questions about what is considered “art” – it examines the politically charged funding decisions that are made by arts committees every year, as well as privilege, artistic opportunity and colonialism in the Great Multicultural City of Toronto. Also: it’s very, very funny.
11. Upcoming Performances of InterestJanuary 4 to January 15 A one man show with Raoul Bhaneja. Directed by Robert Ross Parker. January 5 to January 29 An interdisciplinary narrative written and performed by Fides Krucker, with co-creator Danny Wild, arranger/musicians Allen Cole, Rick Sacks and Rob Clutton, and the creative expertise of Kathleen Rea, Tristan Whiston, Laird Macdonald, Stefano Pirandello, Susan Dicks, Michael McNamara, David Ferry and director Mark Christmann. January 7 January 8 A modern chamber opera for five singers and six instruments tell the story of a medieval warrior poet. Written by Thorkell Sigurbjornsson January 11 to Feb 5 Written and performed by Chris Earle. Directed by Shari Hollett. January 13 to January 15 January 19 Long considered bold and innovative, Canadian songwriter, guitarist and multi-instrumentalist Priya Thomas has built a solid reputation for her work through defying the trends and never underestimating her audience. January 25 Named after the historic neighborhood in Port-of-Spain, Trinidad, where traditional calypso (kaiso) was born, Kobotown continues to extend the tradition of rhythmic and melodic cross-pollination that marks Calypso music. Double bill with singer Kelly Lee Evans. January 25 to January 28 January 31 to February 4
12. Worth a Thousand Words – Photography from David Pijuan-Nomura In Memoriam Antonio Pijuan
13. Last ThoughtLiving is a form of not being sure, not knowing what next or how… The artist never entirely knows. We guess. We may be wrong, but we take leap after leap in the dark.
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This All Happened
Muriella Pent