Canadian Theatre Review 109 Winter 2002
The Body
Edited by Catherine Graham
Contents
Making Sense, Getting Through - "The Word's Body"
The complex relationship between bodies, language, experience, and truth in everyday life - and in acting.
JUDITH KOLTAI
Gendered Bodies and High School Girls: Devising Theatre
A story of the everyday, gendered, embodied, and eclectic knowledges that a heterogeneous group of girls bring to a theatre project.
KATHLEEN GALLAGHER
Sitting and Talking ... about Movement?!
A conversation in progress on the role of the movement teacher and of movement in the theatre.
ERIKA BATDORF, LESLIE FRENCH, SALLIE LYONS, and CATHERINE MARRION
body/absence/body: Symptomatologies
How does a body move, speak, and even dance to the "dis-joins" left by the absence of its beloved(s)?
MICHELLE NEWMAN
Making MindLands: The Script
In the beginning there was video. Then, there was no video. And then, there was video.
W.A. HAMILTON
Making MindLands: The Multimedia Production.
Using technology to underscore the body image problems of an analog guy facing a digital world.
PAUL RIVERS
Carbone 14's Intelligent and Responsive Body
The Montréal image/dance-theatre troupe makes the body the primary signifier in performance.
ERIN HURLEY
Re-Surfacing the Chinese-Canadian Body in Performance: Elyne's Quan's "Surface Tension" and "What?"
Edmonton theatre practitioner Elyne Quan resists commodified images of the Chinese-Canadian body.
ROSALIND KERR
"Performing Femininity" on Stage and Off
Confronting effeminaphobia, a near relation and bonding agent to both homophobia and misogyny, through drag performance.
DAVID BATEMAN
DynamO Théâtre: Moving Images of Teenage Life
A company of jugglers, acrobats, mimes and clowns combines acrobatic movement and dramatic narrative to explore risk, independence, and belonging.
BERNARD LAVOIE
SCRIPT
MindLands
W.A. Hamilton's multimedia one-man play about a steel worker who suddenly finds that the skill in his hands and the strength in his body will no longer provide his family with a stable and comfortable life.
VIEWS AND REVIEWS
Bodies - both on stage and off - should be viewed in a continuum. Commentary by Catherine Graham
Live and Kicking: A Disabled Audience Member Contemplates the Body in the Audience and on the Stage. Commentary by Joanne Buckley
Robert Lepage's staging of Bluebeard's Castle and Erwartung for the Canadian Opera Company. Review by Karen Pegley and Catherine Graham
Establishing Our Boundaries: English-Canadian Theatre Criticism. Edited by Anton Wagner. University of Toronto Press, 1999. Review by Neil Carson