Pipe Dreams Studio Theatre

2021 ◽  
pp. 63-76
Author(s):  
Sara Theis
Keyword(s):  
Studio Theatre

“In Sundry Languages” Pleasure and Disorientation through Multilingual Melange

2017 ◽  
Vol 38 (2) ◽  
pp. 236-242
Author(s):  
Sebastian Samur
Keyword(s):  
Development Stage ◽  
Development Phase ◽  
Public Performance ◽  
Current Period ◽  
International Experiences ◽  
Studio Theatre

Now in the development phase of its third iteration, “In Sundry Languages” by Toronto Laboratory Theatre presents the language struggles of both new and established Toronto residents in eight different languages. Following rehearsals on and off throughout its year-long evolution, I have found it fascinating to see the progression from its initial workshop phase to its current period of refinement. The piece is based on the actual immigration or international experiences of its performing members. Each of their stories has contributed to the dramaturgical content of a series of twelve vignettes, which play with linguistic quirks, difficulties, and stereotypes. I initially participated as an actor-dramaturg in the earliest rehearsals (in April 2015) and had the opportunity to dabble in Russian, Cantonese, Mandarin, Persian, Korean, and Portuguese. Due to a scheduling conflict I was only part of the project for the first three weeks of a six-week development stage, which resulted in a public performance on May 15, 16 2015. I later caught up with director Art Babayants for an interview in February 2016 to learn about the second iteration of “In Sundry Languages” scheduled to run in early March, 2017 at the Luella Massey Studio Theatre (Toronto).

Findings and Losses on the Studio Theatre Stage

2021 ◽  
pp. 93-108
Author(s):  
David Zolotnitsky
Keyword(s):  
Studio Theatre

scholarly journals Landscapes of Fact and Fiction: Asian Theatre Arts in Britain

2000 ◽  
Vol 16 (1) ◽  
pp. 26-33 ◽  
Author(s):  
Barnaby King
Keyword(s):  
British Society ◽  
Small Scale ◽  
Theatre Arts ◽  
Black Arts ◽  
Asian Populations ◽  
African Caribbean ◽  
Postgraduate Studies ◽  
History Of ◽  
Studio Theatre ◽  
The University

In the first of two essays which use academic discourses of cultural exchange to examine the intra-cultural situation in contemporary British society, Barnaby King analyzes the relationship between Black arts and mainstream arts on both a professional and community level, focusing on particular examples of practice in the Leeds and Kirklees region in which he lives and works. This first essay looks specifically at the Asian situation, reviewing the history of Arts Council policy on ethnic minority arts, and analyzing how this has shaped – and is reflected in – current practice. In the context of professional theatre, he uses the examples of the Tara and Tamasha companies, then explores the work of CHOL Theatre in Huddersfield as exemplifying multi-cultural work in the community. He also looks at the provision made by Yorkshire and Humberside Arts for the cultural needs of their Asian populations. In the second essay, to appear in NTQ62, he will be taking a similar approach towards African-Caribbean theatre in Britain. Barnaby King is a theatre practitioner based in Leeds, who completed his postgraduate studies at the University of Leeds Workshop Theatre in 1998. He is now working with theatre companies and small-scale venues – currently the Blah Blah Blah company and the Studio Theatre at Leeds Metropolitan University – to develop community participation in theatre and drama-based activities.

The African-Caribbean Identity and the English Stage

2000 ◽  
Vol 16 (2) ◽  
pp. 131-136 ◽  
Author(s):  
Barnaby King
Keyword(s):  
British Society ◽  
Small Scale ◽  
Black Communities ◽  
Black Arts ◽  
African Caribbean ◽  
Postgraduate Studies ◽  
Studio Theatre ◽  
English Stage ◽  
Alternative Community ◽  
The University

In the first of two essays employing academic discourses of cultural exchange to examine the intra-cultural situation in contemporary British society, published in NTQ 61, Barnaby King analyzed the relationship between Asian arts and mainstream arts in Britain on both a professional and a community level. In this second essay he takes a similar approach towards African–Caribbean theatre in Britain, comparing the Black theatre initiatives of the regional theatres with the experiences of theatre workers themselves based in Black communities. He shows how work which relates to a specific ‘other’ culture has to struggle to get funding, while work which brings Black Arts into a mainstream ‘multicultural’ programme has fewer problems. In the process, he specifically qualifies the claim that the West Yorkshire Playhouse provides for Black communities as well as many others, while exploring the alternative, community-based projects of ‘Culturebox’, based in the deprived Chapeltown district of Leeds. Barnaby King is a theatre practitioner based in Leeds, who completed his postgraduate studies at the University of Leeds Workshop Theatre in 1998. He is now working with theatre companies and small-scale venues – currently the Blah Blah Blah company and the Studio Theatre at Leeds Metropolitan University – to develop community participation in

THEATRE BY REQUEST SEBAGAI ALTERNATIF PEMBELAJARAN TEATER

2018 ◽  
Vol 5 (1) ◽  
Author(s):  
M. Dinu Imansyah ◽  
G.R. Lono Lastoro Simatupang ◽  
R. M. Soedarsono
Keyword(s):  
School Children ◽  
Alternative Media ◽  
Learning Materials ◽  
Theatre Education ◽  
Interactive Performance ◽  
Theatrical Play ◽  
Studio Theatre ◽  
A Performance

This research discusses about "Theatre by Request" (TbR) as showcase method by Studio Theatre Pusat Pengembangan dan Pemberdayaan Pendidik dan Tenaga Kependidikan (PPPPTK) of Seni Budaya Yogyakarta. TbR is an interactive show where audiences can choose and decide which actors will perform, the theme of the story will be staged, and to control the show depends on the performances option. This interactive performance is done by improvisation, considering the actor himself never know who will be chosen by the audience to play and what theme will be played. TbR is designed to introduce theatrical play techniques to the community, especially students. Mostly, theatre education uses drama script as a reference learning, but TbR uses theatre game as method to introduce theatre world. This research focuses on how TbR uses the game as a basis for making educative performances, especially education about the theater world itself. The results showed that theatre game is one of the alternative media to introduce theater as a performance as well as learning materials to the community, especially school children.

III. L’exemple du Studio Théâtre de Stains

2016 ◽  
pp. 299-314
Author(s):  
Marjorie Nakache ◽  
Kamel Ouarti ◽  
Sylvain Allemand
Keyword(s):  
Studio Theatre

Clubbing Audiences: Relational Theatre Practice at ‘Death Disco’

2012 ◽  
Vol 28 (1) ◽  
pp. 67-79 ◽  
Author(s):  
David Overend
Keyword(s):  
Cultural Practices ◽  
Relational Aesthetics ◽  
Complex Process ◽  
Studio Theatre ◽  
Day To Day Operations ◽  
The Aesthetic ◽  
Relationship Of ◽  
Modes Of Engagement ◽  
The Relationship ◽  
A Performance

In this article David Overend proposes a concept of ‘audience’ that accounts for a complex process of fluctuation between observing or spectating performance as part of a wider group, and becoming part of the aesthetic – forming individual relationships with the artwork and its environment. It is proposed that developing Nicolas Bourriaud's concept of ‘relational aesthetics’ as a model for ‘relational theatre practice’ responds to the continually shifting modes of engagement of those encountering and becoming part of a performance event. Focusing on the Arches arts centre in Glasgow, and drawing on the theory of clubbing, Overend develops a performance for a club night, comparing the experience of the clubbing crowd to that of a theatre audience in order to interrogate the relationship of two cultural practices that remain largely autonomous within the day-to-day operations of the site. Midland Street (September 2009) was a one-off performance for ‘Death Disco’, the monthly electro club night at the Arches. Using cars parked outside the venue, a chaotic poker game, and an array of overtly theatrical characters, including a clown and a pack of urban animals, the performance attempted to move outside the boundaries of the theatre programme as well as the studio theatre space, entering another dynamic relational realm, which is central to the Arches' cultural identity and funding structures. Combining a practical and theoretical approach, this research interrogates Bourriaud's relational aesthetic model through its application to the development of theatre practice within the specific context of an arts venue.

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