Recent Essays

Amelia Parenteau explores the creation of The < 3 G E N Project: a documentary theatre project in which the creators, Beatriz Cabur and Giulia Cavallini, are using digital theatre to bridge the digital divide between generations of women, and invite these women into conversation on how to better connect. 

Ayesha Jordan writes about the intersection of performance and permaculture, and how slowing down and respecting the cycles of the earth are influencing her multi-species project in process. 

Deke Weaver discusses his life-long project, The Unreliable Bestiary: an ark of full-length performances about animals, our relationships with them, and the worlds they inhabit. Through this ambitious project, Deke and his team draw out the connections between disparate local and global dots and illustrate how the personal is political.

Tannis Kowalchuk, artistic director of Farm Arts Collective, shares about the project Dream on the Farm—a ten year project of climate change plays performed on Willow Wisp Organic Farm that grapples with the questions: How do we imagine our future? What are our dreams?

Chantal Bilodeau kicks off another installment of Theatre in the Age of Climate Change by reflecting on her journey working on the Arctic Cycle against the backdrop of the continuously increasing global temperature, and introducing the other playwrights who will be sharing about their commitment to creating a series of work about the climate crisis. 

In Between Two Knees, the 1491s use comedy to destabilize rigid ideas of history. Sebastián Eddowes Vargas discusses the Perelman Performing Arts Center production, highlighting the narrative and political potency of laughing in the face of trauma.  

Yaşam Özlem Gülseven interviews Davit Khorbaladze about his play UNLOVE: an experimental work based on his personal documentary material about the loss of love during a time of global crisis and the identity crisis that followed. The two explore how UNLOVE and the rest of the “UN-” trilogy highlights the shocking resemblance between intimate experiences and global events.

Kaneza Schaal shares the community practices she witnessed at her aunt’s home in Rwanda, and how theatremakers should embrace these practices when we create work together.

After being asked to share his thoughts on the future of international touring, Why Not Theatre founder Ravi Jain offers some of what he’s learned about engaging “new” audiences and building lasting relationships between artists and presenters.