Hello!

My name is Karen Liddell; I'm a 35-year-old mom, wife, and part-time accountant.
As a rule, I delete all unsolicited "junk" e-mail and use my account primarily
for business.  I received what I assumed was this same e-mail countless times and
deleted it each time.

About two months ago I received it again and, because of the catchy subject line,
I finally read it.  Afterwards, I thought , "OK, I give in, I'm going to try this.
I can certainly afford to invest $20 and, on the other hand, there's nothing wrong
with creating a little excess cash."  I promptly mailed four $5 bills and, after
receiving the reports, paid a friend of mine a small fee to send out some e-mail
advertisements for me.  After reading the reports, I also learned how easy it is
to bulk e-mail for free!

I was not prepared for the results.  Every day for the last six weeks, my P.O.
box has been overflowing with $5 bills; many days the excess fills up an extra
mail bin and I've had to upgrade to the corporate-size box!  I am stunned by all
the money that keeps rolling in!

My husband and I have been saving for several years to make a substantial
downpayment on a house.  Now, not only are we purchasing a house with 40%
down, we're going to Venice, Italy to celebrate!

I promise you, if you follow the directions in this e-mail and be prepared to
eventually set aside about an hour each day to follow up (and count your money!),
you will make at least as much money as we did.  If you can open an envelope,
remove the money, and send an e-mail message, then you're on your way to the
bank. Take the time to read this so you'll understand how easy it is.  If I can
do this, so can you!

=====================================================

             *** Print This Now For Future Reference ***

The following income opportunity is one you may be interested in taking a look at.
It can be started with VERY LITTLE investmentand the income return is
TREMENDOUS!!!

$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$

You are about to make at least $50,000 in less than 90 days!
Please read the enclosed program...THEN READ IT AGAIN!!!

$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$

THIS IS A LEGITIMATE, LEGAL, MONEY MAKING OPPORTUNITY.
It does not require you to come into contact with people, do any hard work, and
best of all, you never have to leave the house except to get the mail.  If you
believe that someday you'll get that big break that you've been waiting for,
THIS IS IT!  Simply follow the instructions, and your dream will come true.
This multi-level e-mail order marketing program works perfectly...100%
EVERY TIME.  E-mail is the sales tool of the future.  Take advantage of this
non-commercialized method of advertising NOW!!!  The longer you wait, the more
people will be doing business using e-mail.  Get your piece of this action!!!

MULTI-LEVEL MARKETING (MLM) has finally gained respectability.
It is being taught in the Harvard Business School, and both Stanford Research
and the Wall Street Journal have stated that between 50% and 65% of all goods
and services will be sold through multi-level methods by the mid to late 1990's.
This is a Multi-Billion Dollar industry and of the 500,000 millionaires in the
U.S., 20% (100,000)  made their fortune in the last several years in MLM.
Moreover, statistics show 45 people become millionaires everyday through
Multi-Level Marketing.

The enclosed information is something I almost let slip through my fingers.
Fortunately, sometime later I re-read everything and gave some thought and
study to it.

My name is Christopher Erickson.  Two years ago, the corporation I
worked at for the past twelve years down-sized and my position was
eliminated.  After unproductive job interviews, I decided to open my
own business.  Over the past year, I incured many unforeseen
financial problems.  I owed my family, friends and creditors over
$35,000.  The economy was taking a toll on my business and I just
couldn't seem to make ends meet.  I had to refinance and borrow
against my home to support my family and struggling business.  AT
THAT MOMENT something significant happend in my life and I am
writing to share the experience in hopes that this will change your
life FOREVER FINANCIALLY!!!

In mid December, I received this program via e-mail.  Six month's
prior to receiving this program I had been sending away for
information on various business opportunities.  All of the programs
I received, in my opinion, were not cost effective.  They were either
too difficult for me to comprehend or the initial investment was too
much for me to risk to see if they would work or not.  One claimed
that I would make a million dollars in one year...it didn't tell me
I'd have to write a book to make it!

But like I was saying, in December of 1995 I received this program.
I didn't send for it, or ask for it, they just got my name off a
mailing list. THANK GOODNESS FOR THAT!!!  After reading
it several times, to make sure I was reading it correctly, I couldn't
believe my eyes.  Here was a MONEY MAKING PHENOMENON.
I could invest as much as I wanted to start, without putting me
further into debt.  After I got a pencil and paper and figured it
out, I would at least get my money back.  After determining the
program was LEGAL and NOT A CHAIN LETTER, I decided
"WHY NOT."

Initially I sent out 10,000 e-mails.  It cost me about $15.00 for my
time on-line.  The great thing about e-mail is that I don't need any
money for printing to send out the program, only the cost to fulfill
my orders.  I am telling you like it is, I hope it doesn't turn you
off, but I promised myself that I would not "rip-off" anyone, no
matter how much money it cost me!

In less than one week, I was starting to receive orders for REPORT #1.
By January 13, I had received 26 orders for REPORT #1.  When you read the
GUARANTEE in the program, you will see that "YOU MUST RECEIVE 15-20
ORDERS FOR REPORT #1 WITHIN 2 WEEKS.  IF YOU DON'T, SEND OUT
MORE PROGRAMS UNTIL YOU DO!"
My first step in making $50,000 in 20-90 days was done. By January 30,
I had received 196 orders for REPORT #2.  If you go back to the GUARANTEE,
"YOU MUST RECEIVE 100+ ORDERS FOR REPORT #2 WITHIN 2 WEEKS.
IF NOT, SEND OUT MORE PROGRAMS UNTIL YOU DO.  ONCE YOU HAVE 100
ORDERS, THE REST IS EASY, RELAX, YOU WILL MAKE YOUR $50,000
GOAL"  Well, I had 196 orders for REPORT #2, 96 more than I needed.  So I sat
back and relaxed.  By March 19, of my e-mailing of 10,000, I received $58,000
with more coming in every day.

I paid off ALL my debts and bought a much needed new car.  Please take time
to read the attatched program, IT WILL CHANGE YOUR LIFE FOREVER!!!
Remember, it won't work if you don't try it.  This program does work, but you
must follow it EXACTLY!  Especially the rules of not trying to place your name
in a different place.  It won't work, you'll lose out on a lot of money!
REPORT #2 explains this. Always follow the guarantee, 15-20 orders for
REPORT #1, and 100+ orders for REPORT #2 and you will make $50,000 or more in
20-90 days.  I AM LIVING PROOF THAT IT WORKS!!!

If you choose not to participate in this program, I am sorry.  It really is a
great opportunity with little cost or risk to you.  If you choose to participate,
follow the program and you will be on your way to financial security.

If you are a fellow business owner and are if financial trouble like I was, or
you want to start your own business, consider this a sign. I DID!

                               Sincerely,

                         Christopher Erickson

P.S. Do you have any idea what 11,700  $5 bills ($58,000) look like
piled up on a kitchen table?  IT'S AWESOME!

A PERSONAL NOTE FROM THE ORGINATOR OF THIS PROGRAM:

By the time you have read the enclosed program and reports, you should have
concluded that such a program, and one that is legal, could not have been created
by an amateur.

Let me tell you a little about myself.  I had a profitable business for 10 years.
Then in 1979 my business began falling off.  I was doing the same things that were
previously successfull for me, but it wasn't working.  Finally, I figured it out.
It wasn't me, it was the economy.  Inflation and recession had replaced the stable
economy that had been with us since 1945.  I don't have to tell you what happend to
the unemployment rate... because many of you know from first hand experience.
There were more failures and bankruptcies than ever before.

The middle class was vanishing.  Those who knew what they were doing invested
wisely and moved up.  Those who did not, including those who never had anything to
save or invest, were moving down into the ranks of the poor.  As the saying goes,
"THE RICH GET RICHER AND THE POOR GET POORER."  The traditional methods
of making money will never allow you to "move up" or "get rich", inflation will
see to that.

You have just received information that can give you financial freedom for the rest
of your life, with "NO RISK" and "JUST A LITTLE BIT OF EFFORT."
You can make more money in the next few months than you have ever imagined.

I should also point out that I will not see a penny of this money, nor anyone else
who has provided a testimonial for this program.  I have already made over
4 MILLION DOLLARS!  I have retired from the program after sending out over
16,000 programs.  Now I have several offices that make this and several other
programs here and over seas.  By the spring we wish to market the "internet" by a
partnership with AMERICA ON LINE.

Follow the program EXACTLY AS INSTRUCTED.  Do not change it in any way.
It works exceedingly well as it is now.  Remember to e-mail a copy of this exciting
report to everyone you can think of. One of the people you send this to may send out
50,000...and your name will be on everyone of them!  Remember though, the more
you send out the more potential customers you will reach.

So my friend, I have given you the ideas, information, materials and opportunity
to become financially independent, IT IS UP TO YOU NOW!

"THINK ABOUT IT"
Before you delete this program from your mailbox, as I almost did, take a little
time to read it and REALLY THINK ABOUT IT.  Get a pencil and figure out what could
happen when YOU participate. Figure out the worst possible response and no matter
how you calculate it, you will still make a lot of money!  You will definitely get
back what you invested.  Any doubts you have will vanish when your first orders
come in.  IT WORKS!
                                     Paul Johnson, Raleigh, NC

HERE'S HOW THIS AMAZING PROGRAM WILL MAKE YOU $$$$$

Let's say that you decide to start small, just to see how it goes, and we'll
assume you and all those involved send out only 2,000 programs each.  Let's also
assume that the mailing receives a 0.5% response.  Using a good list the response
could be much better. Also many people will send out hundreds of thousands of
programs instead of 2,000.  But continuing with this example, you send out only
2,000 programs.  With a 0.5% response, that is only 10 orders for REPORT #1.
Those 10 people respond by sending out 2,000 programs each for a total of 20,000.
Out of those 0.5%, 100 people respond and order REPORT #2. Those 100 mail out
2,000 programs each for a total of 200,000.  The 0.5% response to that is 1,000
orders for REPORT #3.  Those 1,000 send out 2,000 programs each for a 2,000,000
total.  The 0.5% response to that is 10,000 orders for REPORT #4.  That's 10,000
$5 bills for you.  CASH!!! Your total income in this example is
$50 + $500 + $5,000 + $50,000 for a total of $55,550!!!

REMEMBER FRIEND, THIS IS ASSUMING 1,990 OUT OF THE 2,000 PEOPLE
YOU MAIL TO WILL DO ABSOLUTELY NOTHING AND TRASH THIS PROGRAM!
DARE TO THINK FOR A MOMENT WHAT WOULD HAPPEN IF EVERYONE, OR HALF
SENT OUT 100,000 PROGRAMS INSTEAD OF 2,000.
Believe me, many people will do just that, and more!  By the way, your cost to
participate in this is practically nothing.  You obviously already have an
internet connection and e-mail is FREE!!!  REPORT #3 will show you the best
methods for bulk e-mailing and obtaining e-mail lists.

INSTRUCTIONS:
We at Erris Mail Order Marketing Businesses, have a method of raising capital that
REALLY WORKS 100% EVERYTIME.  I am sure that you could use
$50,000 to $125,000 in the next 20-90 days. Before you say "BULL... ",
please read this program carefully.

This is not a chain letter, but a perfectly legal money making opportunity.
Basically, this is what you do:  As with all multi-level business, we build our
business by recruiting new partners and selling our products.  Every state in the
USA allows you to recruit new multi-level business partners, and we offer a
product for EVERY dollar sent.  YOUR ORDERS COME AND ARE FILLED
THROUGH THE MAIL, so you are not involved in personal selling.  You do it
privately in your own home, store or office.
This is the GREATEST Multi-Level Mail Order Marketing anywhere:

Step (1)  Order all four (4) REPORTS listed by NAME AND NUMBER.
Do this by ordering the REPORT from each of the four (4) names
listed on the next page.  For each REPORT, send $5 CASH and a
SELF-ADDRESSED STAMPED envelope (BUSINESS SIZE #10) to the person
listed for the SPECIFIC REPORT.  International orders should also
include $1 extra for postage.  It is essential that you specify
the NAME and NUMBER of the REPORT requested to the person you are
ordering it from.  You will need ALL FOUR (4) REPORTS because you
will be REPRINTING and RESELLING them.  DO NOT alter the names
or sequence other than what the instructions say.

IMPORTANT: Always provide same-day service on all orders.

Step (2)  Replace the name and address under REPORT #1 with
your's, moving the one that was there down to REPORT #2.  Drop
the name and address under REPORT #2 TO REPORT #3,  moving
the one that was there to REPORT #4.  The name and the address
that was under REPORT #4 is dropped from the list and this party
is no doubt on the  way to the bank.  When doing this, make certain
you type the names and addresses ACCURATELY!!!  DO NOT
MIX UP MOVING PRODUCT/REPORT POSITIONS!!!

Step (3) Having made the requested changes in the NAME list, save
it as text (.txt) file in it's own directory to be used with whatever
e-mail program you like.  Again, REPORT #3 will tell you the best
methods of bulk e-mailing and acquiring e-mail lists.

Step (4)  E-mail a copy of the entire program (all of this is very
important) to everyone whose address you can get your hands on.
Start with friends and relatives since you can encourage them to take
advantage of this fabulous money-making opportunity.  That's what I
did.  And they love me now, more than ever.  Then, e-mail to anyone
and everyone!  Use your imagination!  You can get e-mail addresses
from companies on the internet who specialize in e-mail mailing
lists.  These are very cheap, 100,000 addresses for around $35.

IMPORTANT:  You won't get a good response if you use an old
list, so always request a FRESH, NEW list.  You will find out where
to purchase these lists when you order the four (4) REPORTS.

ALWAYS PROVIDE SAME-DAY SERVICE ON ALL ORDERS!!!

REQUIRED REPORTS:
***Order each REPORT by NUMBER and NAME***

ALWAYS SEND A SELF-ADDRESSED, STAMPED ENVELOPE
AND $5 CASH FOR EACH ORDER REQUESTING THE
SPECIFIC REPORT BY NAME AND NUMBER.
____________________________________________________

REPORT #1
"HOW TO MAKE $250,000 THROUGH MULTI-LEVEL SALES"

ORDER REPORT #1 FROM:

NICK RAPTIS
PATREOS 58-62
T.K. 26221, PATRA - GREECE
____________________________________________________

REPORT #2
"MAJOR CORPORATIONS AND MULTI-LEVEL SALES"

ORDER REPORT #2 FROM:

KATHY SMITH
5312 S. E. 30 AVE
OCALA, FL 34480-7524

____________________________________________________

REPORT #3
"SOURCES FOR THE BEST MAILING LISTS"

ORDER REPORT #3 FROM:

Micro Info Publishing Inc.
2107 W. Commonwealth Ave.  Dept.264
Alhambra, CA 91803

____________________________________________________

REPORT #4
"EVALUATING MULTI-LEVEL SALES PLANS"

ORDER REPORT #4 FROM:

SOM Co.
2168 S. Atlantic Blvd. #101
Monterey Park, CA 91754

____________________________________________________

CONCLUSION:
I am enjoying my fortune that I made by sending out this program.
You too, will be making money in 20-90 days, if you follow the
SIMPLE STEPS outlined in this mailing.

To be financially independent is to be FREE.  Free to make financial
decisions as never before.  Go into business, get into investments,
retire or take a vacation.  No longer will a lack of money hold you
back.

However, very few people reach financial independence, because
when opportunity knocks, they choose to ignore it.  It is much
easier to say "NO" than "YES", and this the question that you must
answer.  Will YOU ignore this amazing opportunity or will you
take advantage of it?  If you do nothing, you have indeed missed
something and nothing will change.  Please re-read this material,
this is a special opportunity.  If you have any questions, please
feel free to write to the sender of this information.  You will get
a prompt and informative reply.

My method is simple.  I sell thousands of people a product for $5
that cost me pennies to produce and e-mail.  I should also point out
that this program is LEGAL and everyone who participates WILL
make money.  This is not a chain letter or a pyramid scam.  At times
you probably received chain letters, asking you to send money, on
faith, but getting NOTHING in return, NO product what-so-ever!
Not only are chain lettters illegal, but the risk of someone breaking
the chain  makes them quite unattractive.

You are offering a legitimate product to your people.  After they
purchase the product from you, they reproduce more and resell them.
It's simple free enterprise.  As you learned from the enclosed
material, the PRODUCT is a series of four (4) FINANCIAL AND
BUSINESS REPORTS.  The information contained in these
REPORTS will not only help you in making your participation in
this program more rewarding, but will be useful to you in any other
business decisions you make in the years ahead.  You are also
buying the rights to reprint all of the REPORTS, which will be
ordered from you by those to whom you mail this program.  The
concise one and two page REPORTS you will be buying can easily
be reproduced at a local copy center for a cost of about 3 cents a
copy.  Best wishes with the program and Good Luck!   

From help at EARTHLINK.NET  Mon Nov  2 13:56:33 1998
From: help at EARTHLINK.NET (help at EARTHLINK.NET)
Date: Mon, 2 Nov 1998 14:56:33 -0400
Subject: No subject
Message-ID: 

                            11/02/98

Y2K  Solution!
8  Pine  Circle  Dr., Silicon  Valley, Calif. USA

OTC  Company  "TCFG"  21 st. Century  Frontier  Group  has
through  several  members  of  their  administrative  research
department  leaked  vital  information  about  their  companies
efforts.

Everyone  was  tight  lipped  and  interviews  were  refused,
and  through  un-named  sources  we  have  learned  that  the
technology  and  software  solution  are  in  the  process  of
being  patented!

In over  1640  trials, using  various  data  systems  the  use
of  the  new  technology  and  software  solved  the  Y2K
problem  100%  of  the  time.

This  small  publicly  traded  company  "TCFG"  which  is  just
3  years  old  is  through  various  sources  now  negotiating
with  the  "Big  Boys"!

"TCFG"  the  letters  to  look  for.....

From blajeune at TOTAL.NET  Mon Nov  2 17:14:50 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Mon, 2 Nov 1998 17:14:50 -0500
Subject: Encyclopedia and Debate
Message-ID: 

Hello Everyone

I want to launch a debate, here. I am being asked to include stage managers
in the encyclopedia. I, for one, would never underestimate the stage
manager in the creation of a production (I have cried on the shoulder of
many a one). I wonder, though, if they should be represented, individually,
on the site. Though some are legitimate artists (and know considerably more
about theatre than the directors they work with), I wonder if they are not,
as a group, something else. Do I open this door wide? And will I then
include technicians? Front of house managers (who, not to be silly, are
often responsible for a house's success)? I'm at a loss...what do you all
think.

I'm also trying to track down the Deagon family (as I lost an e-mail
address) for further information on Arthur Deagon.

Good news, I have been allowed to invade and use liberally (and free of
charge) a huge archive of historical photos which should be up on the site
within the next month or so.

And we wait for news of a Canada Council Millienium Grant this week or next.

The site has now grown to over 1030 profiles with some 450 illustrations
and photos.

Now on to the additions for the week (November 2):

Profiles Added:
New West Theatre (Company)
Guinand, Louise (Designer)
Fisk, Michelle (Actor)
David Young (Playwright)
Robitaille, Pierrette (Actor)

Profiles Updated:
Sources; Phillips, R.; Citadel Theatre; "Broue"; Dorval, A.; LaHaye, D.;
Picard, L.; Messier, M.; Meunier, C.; Dumont, M.; National Arts Centre;
Mykytiuk, L.; Belfry Theatre; Baker, B.; Ledoux, P.; "Fire"; Richmond,
Brian; Lebeau, S.; Yaroshevkaya, K.; Cyr, R.; "A toi, pour toujours, ta
Marie-Lou"; Palomino, M.; British Columbia; "Les Belles-soeurs"; de la
Sablonniere, B.; "Les fees ont soif/The Fairies Are Thirsty"; Boucher, D.;
Grimaldi, J.; Guimond, O.; Legault, E.; "Tit-Coq"; joual; Leblanc, N.;
Mercure, M.; Tremblay, C.; Clement, S.; Feminist Theatre; Bastien, J.;
Magny, M.

Cheers all.

Gaetan Charlebois (editor, Encyclopedia of Canadian Theatre on the WWW)
http://www.canadiantheatre.com

From drj at SHAWFEST.COM  Mon Nov  2 18:06:16 1998
From: drj at SHAWFEST.COM (Denis Johnston)
Date: Mon, 2 Nov 1998 18:06:16 -0500
Subject: Stage managers in your encyclopedia
Message-ID: 

Ah -- trying to please everyone? Can't do it? A line always has to be
drawn somewhere, and someone always gets left out. I've been burrowing
away on a revision of our Shaw Festival Production Record, and have
added all the SMs and ASMs of all productions. I think they should have
been there in the first place; but I've not included the assistant
directors or assistant designers, so I'm sure I'll hear about that
somewhere down the road.
  If you try to weigh who's an artist against who isn't an artist,
you'll likely just get tied in knots. I think it's the needs of your
reading audience that matters. Is anyone likely to look up a famous
stage manager? Can you think of any famous stage managers? If you can,
include them. If not, leave them out. You as compiler should have the
last word, even though the responsibility is not always very
comfortable. (If it were up to me, I would include stage managers who
have also done other things in the theatre: Malcolm Black, Michael
Shamata, Martin Bragg, Paul Reynolds, Colleen Blake come to mind as
possibilities. But a career stage manager spends his/her life behind the
scenes, and so is unlikely to attract much public interest.)

Denis Johnston
Co-Director
The Academy of the Shaw Festival

From kfleury at NETCOM.CA  Mon Nov  2 20:04:33 1998
From: kfleury at NETCOM.CA (Karen Fleury)
Date: Mon, 2 Nov 1998 18:04:33 -0700
Subject: Fw: Encyclopedia and Debate
Message-ID: 

I can think of several arguements to suggest that the stage manager is
asmuch an artist as the rest of a company; since I am pressed for time, I
willn keep my response short. (and blunt)

On average, when one thinks of the many duties of a stage manager, they
think of their people skills first; the holding of hands, the calming of
nerves, etc.  What people tend to forget, in general, is the artistic form
that stage management expresses themselves in best:  calling the show.  When
this is done well, it goes unnoticed.  The timing of a show often hinges on
the flow of cues in addition to the action on stage.  When the calling is
done poorly, it is disastorous.  Everyone is aware of mistakes; not just the
seasoned professional that had "comps" that night. Bad calling can ruin what
would otherwise be a really good production.

The other point I would like to make is that the show is handed over to the
stage manager once the show opens.  The rehearsal period is not just spent
taking blocking and making coffee.  Stage managers pay attention to what the
director and the company are creating.  It is their responsibility to take
over once the director completes his or her contract on opening night.  The
stage manager then takes on the task of giving notes to the company and
keeping the integrity of the show as close to the director's vision as
possible.  They therefore have to be aware of what that vision is and how to
go about keeping performers and technicians on par. (tactfully)

Thanks for asking for input.

Karen Fleury
Equity Stage Manager
Calgary

>
>
>>Hello Everyone
>>
>>I want to launch a debate, here. I am being asked to include stage
managers
>>in the encyclopedia. I, for one, would never underestimate the stage
>>manager in the creation of a production (I have cried on the shoulder of
>>many a one). I wonder, though, if they should be represented,
individually,
>>on the site. Though some are legitimate artists (and know considerably
more
>>about theatre than the directors they work with), I wonder if they are
not,
>>as a group, something else. Do I open this door wide? And will I then
>>include technicians? Front of house managers (who, not to be silly, are
>>often responsible for a house's success)? I'm at a loss...what do you all
>>think.
>>
>>I'm also trying to track down the Deagon family (as I lost an e-mail
>>address) for further information on Arthur Deagon.
>>
>>Good news, I have been allowed to invade and use liberally (and free of
>>charge) a huge archive of historical photos which should be up on the site
>>within the next month or so.
>>
>>And we wait for news of a Canada Council Millienium Grant this week or
>next.
>>
>>The site has now grown to over 1030 profiles with some 450 illustrations
>>and photos.
>>
>>Now on to the additions for the week (November 2):
>>
>>Profiles Added:
>>New West Theatre (Company)
>>Guinand, Louise (Designer)
>>Fisk, Michelle (Actor)
>>David Young (Playwright)
>>Robitaille, Pierrette (Actor)
>>
>>Profiles Updated:
>>Sources; Phillips, R.; Citadel Theatre; "Broue"; Dorval, A.; LaHaye, D.;
>>Picard, L.; Messier, M.; Meunier, C.; Dumont, M.; National Arts Centre;
>>Mykytiuk, L.; Belfry Theatre; Baker, B.; Ledoux, P.; "Fire"; Richmond,
>>Brian; Lebeau, S.; Yaroshevkaya, K.; Cyr, R.; "A toi, pour toujours, ta
>>Marie-Lou"; Palomino, M.; British Columbia; "Les Belles-soeurs"; de la
>>Sablonniere, B.; "Les fees ont soif/The Fairies Are Thirsty"; Boucher, D.;
>>Grimaldi, J.; Guimond, O.; Legault, E.; "Tit-Coq"; joual; Leblanc, N.;
>>Mercure, M.; Tremblay, C.; Clement, S.; Feminist Theatre; Bastien, J.;
>>Magny, M.
>>
>>Cheers all.
>>
>>Gaetan Charlebois (editor, Encyclopedia of Canadian Theatre on the WWW)
>>http://www.canadiantheatre.com
>>
>

From ajarvis at IS2.DAL.CA  Mon Nov  2 23:07:56 1998
From: ajarvis at IS2.DAL.CA (Alastair M. Wallis Jarvis)
Date: Tue, 3 Nov 1998 00:07:56 -0400
Subject: Fw: Encyclopedia and Debate
In-Reply-To: <001201be06c5$ec387700$a345b5cf@default>
Message-ID: 

On Mon, 2 Nov 1998, Karen Fleury wrote:

> What people tend to forget, in general, is the artistic form
> that stage management expresses themselves in best:  calling the show.  When
> this is done well, it goes unnoticed.  The timing of a show often hinges on
> the flow of cues in addition to the action on stage.  When the calling is
> done poorly, it is disastorous.  Everyone is aware of mistakes; not just the

I'm sure I'll get slammed for this one, but I'm feeling ornery and it'll be
nice to see this list heat up again...

I wonder how repeating the cues and recreating what the director and the
designers have set during the rehearsal process constitutes artistic
expression? Should the encyclopedia list all of the lighting board
operators who have ever hit a "cue" button? (Provided they didn't miss a
cue, of course)

Perhaps finely crafted prompt-books should be thought of as pieces of art.
That I can see. Maybe someone could start a museum and an encyclopedia
devoted to beautiful Canadian prompt-books.

But seriously, it seems to me that Gaetan is looking to include people
who have made significant contributions to the theatre in Canada. Ok, ok,
so you could make the case that anyone who has ever been involved with any
show has made a contribution to Canadian theatre... Why aren't all of the
actors who have ever performed along side those mentioned in the
encyclopedia also named? No one can deny that the artists who are listed
are deeply indebted to their colleagues onstage and off, but, to repeat
previous posts, where do you draw the line?

I am certain that there are SMs who work creatively in the realization of a
piece, some whose contributions have been exceptional and who will be
included, but I don't think that the kind of work Karen is talking about -
calling the show and maintaining its integrity throughout a run - is
where this creative activity takes place - no more so than in non-artisic
management positions.

I can hear Canada's SMs declaring open season right now.

I hope you prove me wrong. ;)

Cheers,
Alastair Jarvis

____________________________
Emerging Canadian theatre artist: How do I get into the encyclopedia?
Gaetan: Practice... practice.

From blajeune at TOTAL.NET  Tue Nov  3 01:38:38 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Tue, 3 Nov 1998 01:38:38 -0500
Subject: Search?
Message-ID: 

Hello all

Received this today and figured one of you out there might help this
person. I've included her address.

Thanks, and sorry of this is a bother.

Gaetan Charlebois

>Delivered-To: blajeune at toolbox.total.net

>To: 
>Subject: Search?
>
>     Loved your site--as a transplanted Canadian, it's nice to see  a site
>all about the extensive and eclectic Canadian theatre.   Do you have a
>search service?  I am trying to find three  old teachers of mine--Jean
>Szeles, Declan Hill, and Stephan (?) (If I can find  one of the others
>they'll know his name).  They taught at a summer theatre  program at the
>old firehouse on Dalhousie in Ottawa, and it would have been  summer 1985
>or 86.  I just want to let them know that I'm an actor and  their teaching
>helped.   Anyway, if you don't have a search service, can you suggest
>anywhere I might try?   Thank you!   Allison Williams Florida, USA
>

From blajeune at TOTAL.NET  Tue Nov  3 01:55:17 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Tue, 3 Nov 1998 01:55:17 -0500
Subject: Fw: Encyclopedia and Debate
In-Reply-To: 
Message-ID: 

>On Mon, 2 Nov 1998, Karen Fleury wrote:
>
>> What people tend to forget, in general, is the artistic form
>> that stage management expresses themselves in best:  calling the show.  When
>> this is done well, it goes unnoticed.  The timing of a show often hinges on
>> the flow of cues in addition to the action on stage.  When the calling is
>> done poorly, it is disastorous.  Everyone is aware of mistakes; not just the
>
>
>I'm sure I'll get slammed for this one, but I'm feeling ornery and it'll be
>nice to see this list heat up again...
>
>
>I wonder how repeating the cues and recreating what the director and the
>designers have set during the rehearsal process constitutes artistic
>expression? Should the encyclopedia list all of the lighting board
>operators who have ever hit a "cue" button? (Provided they didn't miss a
>cue, of course)
>
>Perhaps finely crafted prompt-books should be thought of as pieces of art.
>That I can see. Maybe someone could start a museum and an encyclopedia
>devoted to beautiful Canadian prompt-books.
>
>But seriously, it seems to me that Gaetan is looking to include people
>who have made significant contributions to the theatre in Canada. Ok, ok,
>so you could make the case that anyone who has ever been involved with any
>show has made a contribution to Canadian theatre... Why aren't all of the
>actors who have ever performed along side those mentioned in the
>encyclopedia also named? No one can deny that the artists who are listed
>are deeply indebted to their colleagues onstage and off, but, to repeat
>previous posts, where do you draw the line?
>
>I am certain that there are SMs who work creatively in the realization of a
>piece, some whose contributions have been exceptional and who will be
>included, but I don't think that the kind of work Karen is talking about -
>calling the show and maintaining its integrity throughout a run - is
>where this creative activity takes place - no more so than in non-artisic
>management positions.
>
>I can hear Canada's SMs declaring open season right now.
>
>I hope you prove me wrong. ;)
>
>Cheers,
>Alastair Jarvis
>
>____________________________
>Emerging Canadian theatre artist: How do I get into the encyclopedia?
>Gaetan: Practice... practice.

I like how this debate is going. But I remember it was like a similar
debate I had some 20 years ago at the Banff centre. There were a bunch of
playwrights in the Colony who would go to the exhibits of the macramé
artists and scoff at them. They made the distinction be artists and
artisans/craftspeople. What I saw, among some truly hideous plant-holders,
was legitimate art. So some macramé creators were artists.

So I would suspect that there are craftspeople/artisans who elevate what
they do to an art form. I know, as a critic, that I have mentioned
lighting-board people for getting all the cues just right and aiding the
rhythm of a work (and slammed a few who did not do it right). However,
aside from seeing the work, on a given night, of a stage manager, how can
one judge if, in the long-term, they are artists or artisans/craftspeople?

I know, here in Quebec, we are starting to treat assistant-directors as a
separate and valued artist. Because I do not know, on any given show, what
the asst. has done, I do not ever mention them in a review. I think the
same applies to SMs. When I was a director, I had SMs who took down all my
notes, conveyed them to the cast in tones more dulcet than I could offer
after a bad rehearsal, and therefore saved morale. Is this an art? I've
also had stage-managers, when I was a playwright, who would phone me up and
tell me what a particular director was doing to my play. Is this an art?
It's a job. Valuable as all hell. But unless, with each show and depending
on the director being worked with, I can see the exact contribution made by
the SM (so that praise and blame can be attributed) I can't see how, as a
body, they can be regarded as artists? It is greatly appreciated work, but
the best SMs are the most invisible.

Gaetan Charlebois

From petereff at MAIL.GEOCITIES.COM  Tue Nov  3 07:04:10 1998
From: petereff at MAIL.GEOCITIES.COM (Peter Freund)
Date: Tue, 3 Nov 1998 08:04:10 -0400
Subject: Fw: Encyclopedia and Debate
Message-ID: 

I don't see why this debate revolves around deciding who is or is not an
"artist."

Doesn't your encyclopedia have a place for people who have made or are
making significant contributions to theatre who would never describe
themselves as artists. Managers and administrators might be one example -
academics and theorists might be another.

Peter Freund
Her Majesty's Theatre
Ballarat
Australia

From SHENGEN at NICKEL.LAURENTIAN.CA  Tue Nov  3 10:52:17 1998
From: SHENGEN at NICKEL.LAURENTIAN.CA (SHENGEN at NICKEL.LAURENTIAN.CA)
Date: Tue, 3 Nov 1998 10:52:17 -0500
Subject: please post, send proposals
Message-ID: 

Call for Papers

Interdisciplinary Reflections on the Future

"Remember the future.  Imagine the past."  --Allen Ginsberg

May 6 to 8, 1999

Keynote Speaker: Marjorie Garber

MA in Humanities: Interpretation and Values
Laurentian University, Sudbury, Ontario, Canada

Scholarship tends to centre on the past.  The purpose of this conference
is to look to the future with equal concern, acknowledging the integral
relationship between future and past.  Why is it important to be aware
of the relationship?  In what ways can the Humanities address the
future?  The conference will respond to such questions from
interdisciplinary perspectives.

Proposals (200-300 words, in either English or French) are invited for
twenty-minute papers, or for panels.  Themes could include the
following:

Politics and the Future                 The Soul and the Future
Reading and the Future                  Gender and the Future
Morality and the Future                 Performance and the Future
Culture and the Future                  The Past as the Future
Science/Technology and the Future

Following the conference, selected papers will be published in
Laurentian University's interdisciplinary Humanities journal, _Arachne_.
Submit proposals by January 15, 1999 to the Chair of the Colloquium
Committee, MA in Interpretation and Values, Laurentian University,
Sudbury, Ontario, Canada P3E 2C6.

From kfleury at NETCOM.CA  Tue Nov  3 12:50:09 1998
From: kfleury at NETCOM.CA (Karen Fleury)
Date: Tue, 3 Nov 1998 10:50:09 -0700
Subject: Encyclopedia and Debate
Message-ID: 

Hi Gaeton, et all

I can understand where everyone is coming from; if you have never called a
show, you don't really have  a sense of what it is about.  Let me try to
give you an idea...

Picture the closing scene of "All My Sons" by Arthur Miller.  Joe, the
father, has shot himself, the mood of the audience and the actors has a
heavy and dark feeling to it.  The music starts and the lights start to fade
to black.  The jobs of the lighting board operator and the sound operator
are to push one button; on the stage managers "go."  Don't you think that
cue would be called on a feeling; and not on some "paint by numbers" moment.

What is art but an expression of emotion.

As for all of the talk about "if the lighting board operator is a bozo"
stuff; that argument doesn't work anymore.  In the day of computer boards
the operator is left with little to do once the show opens other than
pushing a button.
At any rate, I think we are all artists (in our own rite) including the
technical staff.  I also work as a freelance technician and I have seen many
creative ways for the show to go on.   I think the important point that
everyone is missing in this equation is that we are a team, from the
director down to the apprentice.  Each makes a valuable contribution to what
the audience experiences.  Isn't that what it is all about?

Karen

PS Try and tell the props department that they aren't artists if you want a
real fight.

From dhadfiel at UOGUELPH.CA  Tue Nov  3 14:05:32 1998
From: dhadfiel at UOGUELPH.CA (Dorothy Hadfield)
Date: Tue, 3 Nov 1998 14:05:32 -0500
Subject: Fw: Encyclopedia and Debate
In-Reply-To: 
Message-ID: 

I agree totally with Peter and Karen on their postings. The whole Romantic
"artist"  mentality sidesteps the very important issue of the pragmatics
of production and the politics of making theatre historically visible.

As to Denis Johnston's earlier argument about whether anyone is likely to
look up a famous stage manager, I think an equally compelling argument can
be made the other way around. Since the format of history dictates its
function, no one is likely to look up a "famous" stage manager as long as
all our theatre histories implicitly communicate that stage managers
are not even significant, much less famous.

If the web version of the encyclopedia is truly to have a more dynamic
value than the 1988 Oxford Companion, perhaps it could also challenge the
"artistic" representations of theatre that delimit the writing of theatre
history. Even a single site on stage mgmt might be a good start.

Dorothy Hadfield

On Tue, 3 Nov 1998, Peter Freund wrote:

> I don't see why this debate revolves around deciding who is or is not an
> "artist."
>
> Doesn't your encyclopedia have a place for people who have made or are
> making significant contributions to theatre who would never describe
> themselves as artists. Managers and administrators might be one example -
> academics and theorists might be another.
>
> Peter Freund
> Her Majesty's Theatre
> Ballarat
> Australia
>

From jhawkins at GPU.SRV.UALBERTA.CA  Tue Nov  3 14:58:42 1998
From: jhawkins at GPU.SRV.UALBERTA.CA (Alex Hawkins)
Date: Tue, 3 Nov 1998 12:58:42 -0700
Subject: Fw: Encyclopedia and Debate
Message-ID: 

Peter Freund wrote:
>I don't see why this debate revolves around deciding who is or is not an
>"artist."
>Doesn't your encyclopedia have a place for people who have made or are
>making significant contributions to theatre who would never describe
>themselves as artists. Managers and administrators might be one example -
>academics and theorists might be another.
>Peter Freund

My comment:  I agree with Peter Freund.  I've been reading the various
messages in this debate, and I can't understand why we don't simply use the
designation "theatre worker", and include anyone noteworthy from any
"category" of theatre worker.  After all, even though some would call
actors, directors, and designers "artists", and stage managers, directors'
assistants, and production staff "technicians", or "craftspeople", or
merely "significant workers", not every single actor, director, or designer
will be included in an encyclopedia.  Only those who have been identified
as noteworthy or significant, or even "famous", will be included, and many
(even most) will be left out.  So if a stage manager or assistant director
is identified as noteworthy for whatever reason, why shouldn't they be
included in such a list?
        Doesn't the Republic of Ireland make a distinction between what
they refer to as "creative" artists, versus what they call "interpretive"
artists, in reference to their tax laws?  I seem to remember that
"creative" artists (writers, painters, etc) are tax-exempt, while
"interpretive" artists (directors, actors, etc) are not.  And some time
ago, I believe there was discussion in that country as to whether the
"interpretive" artists should be included among the tax-exempt.  My point
is that all such distinctions are artificial, and can be made arbitrarily
by anyone, depending on their point of view and/or their agenda.
        I am in favour of the term "theatre worker", and suggest that
Gaetan include any noteworthy individual from any category of theatre
worker in his encyclopedia.  Of course, my opinion is offered merely as a
well-intentioned suggestion.  Denis Johnston is absolutely right when he
says that Gaetan, as the editor and primary organizer of this resource, has
the right to make any final determination as to what he will include, and
why.  I certainly appreciate and applaud his efforts to undertake this
large and onerous task.

Best wishes,
Alex Hawkins
Department of Drama
University of Alberta

From blajeune at TOTAL.NET  Tue Nov  3 19:04:37 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Tue, 3 Nov 1998 19:04:37 -0500
Subject: Fw: Encyclopedia and Debate
Message-ID: 

>Delivered-To: blajeune at toolbox.total.net
>Mime-Version: 1.0
>Date:         Tue, 3 Nov 1998 08:04:10 -0400
>Reply-To: Peter Freund 
>Sender: Canadian Theatre Research 
>From: Peter Freund 
>Subject:      Re: Fw: Encyclopedia and Debate
>To: CANDRAMA at hermes.csd.unb.ca
>
>I don't see why this debate revolves around deciding who is or is not an
>"artist."
>
>Doesn't your encyclopedia have a place for people who have made or are
>making significant contributions to theatre who would never describe
>themselves as artists. Managers and administrators might be one example -
>academics and theorists might be another.
>
>Peter Freund
>Her Majesty's Theatre
>Ballarat
>Australia
>

Good point. But in many cases, the reputations of people are marked down
some where (or I am aware of them as a critic). How, exactly, does one
calculate the acheivement of a person who, in the artistic process, is
virtually invisible (ie: unreviewed, unrecorded, etc...) By the number and
importance of plays he/she has participated in? In the case of others, the
contribution is there to see. Rarely in the case of the SM.

Gaetan Charlebois

From blajeune at TOTAL.NET  Tue Nov  3 19:13:18 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Tue, 3 Nov 1998 19:13:18 -0500
Subject: Stage manager debate
Message-ID: 

jhawkins at pop.srv.ualberta.ca wrote:

>My comment:  I agree with Peter Freund.  I've been reading the various
messages in this debate, and I can't understand why we don't simply use the
designation "theatre worker", and include anyone noteworthy from any
"category" of theatre worker. <

Ah, "noteworthy"...how do I judge that? If I, a critic, or a
respected/trusted correspondant didn't see the person's work?

Gaetan Charlebois

From blajeune at TOTAL.NET  Tue Nov  3 19:16:49 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Tue, 3 Nov 1998 19:16:49 -0500
Subject: SMs
Message-ID: 

Dorothy Hadfield wrote:

"As to Denis Johnston's earlier argument about whether anyone is likely to
look up a famous stage manager, I think an equally compelling argument can
be made the other way around. Since the format of history dictates its
function, no one is likely to look up a "famous" stage manager as long as
all our theatre histories implicitly communicate that stage managers
are not even significant, much less famous."

Now this argument (as it also could be said of women, Gays and Lesbians,
and people of colour) is a good one. Still, it comes back to the question
of recorded acheivement...How do I track these people? How do I decide who
did a good job or not? That is, to a certain extent (and especially with
the internet and online newspapers) easy to track for the other groups.

Gaetan Charlebois

From kfleury at NETCOM.CA  Wed Nov  4 03:05:08 1998
From: kfleury at NETCOM.CA (Karen Fleury)
Date: Wed, 4 Nov 1998 01:05:08 -0700
Subject: Stage manager debate
Message-ID: 

>Ah, "noteworthy"...how do I judge that? If I, a critic, or a
>respected/trusted correspondant didn't see the person's work?
>
>Gaetan Charlebois

I recall reading on the web site that a person should be nominated to be
included in the Encyclopedia.  Has Gaeton seen the work of every theatre,
playwright, director, designer and actor currently on the URL?  I should
think that the stage manager's reputation, as with other artist's, would
help in the decision.

My final point, before I step out of the discussion, is the clause in the
CTA--Canadian Theatre Agreement--which includes stage management as an
artist along with directors, designers and actors.  Canadian Actors' Equity
Association and PACT both agree that stage management are artists.  Our
biographies and photos are in the program and our photos on are displayed in
the lobby....

From k22401 at ER.UQAM.CA  Wed Nov  4 08:54:44 1998
From: k22401 at ER.UQAM.CA (Bernard Lavoie)
Date: Wed, 4 Nov 1998 08:54:44 -0500
Subject: SMs
Message-ID: 

May be to start, we should look at the current stage managers.   I think
they are a living memory of the stage.  We must remember that most of
the SM work on many more shows than most designers and directors.  Plus,
they see all the performances of a given show.  So they could help study
the evolution and changes happening to a play during a run.

    In the same token, I feel that the stage hands and crews could be a
ligitimate group to investigate.  Some of the technicians on the
Montreal scene have been working since Expo 67, which gives them a wide
experience on theatrical representation.  We can condescend and assume
that these members of the theatrical community are in it just for the
money and have no creative point of vue, but I think that ignoring them
is a waste for theatre history and its analysis.

Bernard Lavoie

Gaetan Charlebois a écrit :

> Dorothy Hadfield wrote:
>
> "As to Denis Johnston's earlier argument about whether anyone is
> likely to
> look up a famous stage manager, I think an equally compelling argument
> can
> be made the other way around. Since the format of history dictates its
>
> function, no one is likely to look up a "famous" stage manager as long
> as
> all our theatre histories implicitly communicate that stage managers
> are not even significant, much less famous."
>
> Now this argument (as it also could be said of women, Gays and
> Lesbians,
> and people of colour) is a good one. Still, it comes back to the
> question
> of recorded acheivement...How do I track these people? How do I decide
> who
> did a good job or not? That is, to a certain extent (and especially
> with
> the internet and online newspapers) easy to track for the other
> groups.
>
> Gaetan Charlebois

From blajeune at TOTAL.NET  Wed Nov  4 16:47:39 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Wed, 4 Nov 1998 16:47:39 -0500
Subject: SM Debate
Message-ID: 

Great discussion and here is what I've decided.

As the theatre is a collaborative art with only a few names making it into
the papers, I will do what the encyclopedia was meant to do and continue to
record unrecorded acheivement as well. The nominating process of the
encyclopedia is what, I think, sets it apart from other works of this
nature.

I will rely on artists within the community to nominate themselves and each
other (as has happened in the case of over 40 artists since the
encylcopedia went up a little over a month ago). SMs, whether we want to
call them artists or not, are part of the theatre which IS an art and which
could not be an art without them. It struck me, last night, as I remembered
a documentary about the Magic Flute backdrops for the Metropolitain Opera
in New York. They showed the set painters interpretting the designs of
Chagal. How can we say that these men and women were not artists. But are
they reviewed? Nope. Chagal was, but not the men and women who took his
drawings and deigns and made them as huge as the Met's stage. The same must
be said of SMs. Because they are, now, invisible, doesn't mean they should
continue to be so.

Let's face it, there are a lot of actors/directors/playwrights whose
acheivements are celebrated (even in the encyclopedia) whose accomplishment
is not that they are artists but that they are very good PR people and,
finally, workies and have survived. But finally, whether you're Robert
Lepage, Michel Tremblay or Jayne Q. Public, you have contributed to the
overall work which is the production. End of story.

Thanks all. It's been lively and valuable.

Gaetan Charlebois (Encyclopedia of Canadian Theatre on the WWW,
http://www.canadiantheatre.com)

From hboggild at UNISERVE.COM  Thu Nov  5 04:44:48 1998
From: hboggild at UNISERVE.COM (=?ISO-8859-1?Q?Hans_B=F6ggild?=)
Date: Thu, 5 Nov 1998 09:44:48 +0000
Subject: Canadian Programs for Visiting Professionals?
Message-ID: 

Dear Candrama,

I recently had two of my radio plays translated into Finnish and produced in
Helsinki.  The translator, who is also a playwright and director, is planning
a visit to Vancouver early in 1999.  He plans to see as much theatre as he
can during his stay here.  I was wondering if any of you know of programs
for visiting theatre professionals that could make his stay here as interesting
and enjoyable as possible.  I remember once when I went to England, the
British Council gave me a bunch of free theatre tickets and even took me
out to lunch.  Do we have any similar programs to welcome visiting theatre
artists?  Any suggestions would be greatly appreciated.

Thanks very much.

Hans Böggild,
Playwright.
Vancouver.
********************************************************
                        hboggild at uniserve.com

From jnef at UOGUELPH.CA  Thu Nov  5 15:25:57 1998
From: jnef at UOGUELPH.CA (Jorge Nef)
Date: Thu, 5 Nov 1998 15:25:57 -0500
Subject: THE TERRIBLE BUT INCOMPLETE JOURNALS OF JOHN D.
Message-ID: 

  #################################### ####################################

                           "Identity is a process."

 The University of Guelph School of Literatures and Performance Studies in
 English presents an Ontario premiere:

                THE TERRIBLE BUT INCOMPLETE JOURNALS OF JOHN D.
      by Governor General's Award-winning playwright, Guillermo Verdecchia.

 Featuring Antonio Cedrone and Rachel McBride, the play runs November 22,
 1998, at 2:30 pm, and November 23-25 at 8:00 pm at the Inner Stage
 (Rm. 101, MacKinnon Bldg.), University of Guelph.

 Author of such pieces as FRONTERAS AMERICANAS (Governor General's Award,
 1993), THE NOAM CHOMSKY LECTURES (Chalmers Award, 1992, in
 collaboration with Daniel Brooks), and A LINE IN THE SAND (with Marcus
 Youssef), Verdecchia continues his insightful, passionate and tireless
 investigation into politics, economics and social malaise, without
 forgetting the soul. The "journals" introduce a new axis to Verdecchia's
 on-going quest for identity through a negotiation between the personal and
 the political, the self and the social, in an endeavour to locate, create,
 and discover one's place in the world, and amongst people. In Verdecchia's
 words, "Identity is a process."

 The work was originally written as a radio play "for one actor, a
 cello and a soundscape." This production will stage these elements (and
 more) in front of a live audience.

 THE TERRIBLE BUT INCOMPLETE JOURNALS OF JOHN D.

 Written by Guillermo Verdecchia
 Directed by Jorge Nef
 Featuring Antonio Cedrone and Rachel McBride
 Original Music by Rachel McBride
 Set, Lighting, and Costume Design by Deirdre Madden
 Sound Design and Stage Management by Morgan Walker

 Tickets: $4.00 available at the door.
 For further information, or to set up an interview, please contact Jorge
 Nef: (519) 836-8216, or via email: .

From sarvari at TERRASOFT.HU  Fri Nov  6 11:45:05 1998
From: sarvari at TERRASOFT.HU (Sarvari Janos)
Date: Fri, 6 Nov 1998 12:45:05 -0400
Subject: contact
Message-ID: 

I would like contact with You.

My C.V.:
Janos Sarvari:
I am a hungarian moving, movement actor, dancer and choreografer.   I   was   graduated  from  Szekszard
Teacher's  Training  Collage in Hungary.  I established  my company called Art Contact Movingtheatre here in
1987. After  the first dance performances the group had some steps of trying. Mixing  of dancing and moving
become the most common part of our work.
   My first master  was  Jozsef  Sarvari ( he is  the  member  of  French 'Theatre   Jel'   with Jozef   Nadj),  who
taught  me  the  contact improvisation.  I  was  taught contact dance, improvisation, release - techniqs  and
body - mind  centering  three  times by Eszter Gal. I attended  a   short  course  in  Hannover.  I  had  some
lesson  with Carsten Wiedemann.  My  teachers was Peter Lengyel from 'Theatre  Jel' and Gyula Berger, a
present student  of  EDDC. So, I  have  some  good connection  with  EDDC,  which is very important for me.
I  learnt  by Olive Bieringa twice whose course was organized here in my city. I learnt by Carsten WiedemanI
was the organizer of it. We had not only her course but his performance. I have  alredy had sereral courses in
Hungary,  here  I was  the  leader e.g.  in  Szeged, Jaszbereny, Pecs. At present I work with my group. I teach
make choreographies, performances as well.
   I has been a guest-student at Europian Dance Development Center (EDDC) Arnhem in Holland, from
September through December 1995.

 Eva Karczag: Improvisation, meridians, Tai-chi
Charlotte Zerbey: Improvisation
Dianne Torr: theatre and performance
Martha Moore: modern dance
Nol Tilanus: Video

   I was the director and choreographer of the following performances:

1987 - The circle
1988 - Improvisation-three men
1988 - Scottish-evening - Poemplay from the Robert Burns's poems
1989 - S. Beckett: Comings and goings  and Pantomime II.
1992 - The woolve's hours ( One old man's dream)
1992 - Pictures: Opening of an exhibition
1993 - Arabesque,  1993 - Solo dance
1994 - Solo dance II. and  Improvisation with Eszter Gal
1994 - Shade - play in the garden,     1994 - Attraction
1994 - Etude - play in the street
1994 - Opening of a anti-drug festival
1995 - Crystals
1995 - Endless story-solo
1995 - Dreams
1996 - Cristals
1996 - Opening of an exibition
1997 - Lend space for missing dears - play with Tadeusz Kantor

 I'm working in Hungary now, but I looking  for job somewhere in the world. I must go, because I want learn and look
another countries. I am interesting in your work very much. I want work in theatre, group or teaching or something
else job good for me but the first is that: I look group of contact improvisation dancers. I  make a big request of you, if
you have thinks about this, please tell me. If nothing no problem we would be contact, please.

Do you know tell me something about possebilities around you,  and if you know hungarian people in your area (
because I know so many hungarian people live there), please give me theirs addresses.
Thank you.
Janos

Contact:sarvari at terrasoft.hu
Address: Janos Sarvari
7101 Szekszard 1.
Pf.: 401.
Hungary

From Beddows at CATAPULTE.CA  Sun Nov  8 18:10:35 1998
From: Beddows at CATAPULTE.CA (Jo�l Beddows)
Date: Sun, 8 Nov 1998 18:10:35 -0500
Subject: Table ronde - Theatre franco-ontarien
Message-ID: 

LA DRAMATURGIE FRANCO-ONTARIENNE ACTUELLE

Le Theatre la Catapulte

...en collaboration avec ses parteniaires...

l'Association des auteurs de l'Ontario francais, le Departement de
theatre de l'Universite d'Ottawa, le Departement des lettres francaises
de l'Universite d'Ottawa, Theatre Action et le Theatre du Trillium

...vous invite a assister a une table ronde ayant pour theme "La
dramaturgie franco-ontarienne actuelle."  Des specialistes et des
praticiens echangeront autour des questions suivantes:

1.    Quelle est la specificite de la dramaturgie franco-ontarienne par
rapport a ses cousins quebecois, franco-manitobain et acadien?  Y en
a-t-il?
2.    Quelle a ete l'evolution de cette dramaturgie depuis le premier
"cri nationaliste" d'Andre Paiement?  A quel point ressemble-t-elle a
l'evolution des autres dramaturgies de langue francaise du Canada?
3.    Quel est l'avenir de cette dramaturgie?  Vers quoi se dirige le
dire dramatique en Ontario francais?
4.    Y a-t-il une difference stylistique a evoquer entre les
dramaturges de la releve (Joel Beddows, Mireille Francoeur, Claude
Guillemain, Richard Leger, Patrick Leroux, Stefan Psenak, etc...) et les
dramaturges qui ecrivent depuis le debut des annees 1980?
5.    Comment expliquer la quasi absence d'une ecriture dramatique au
feminin en Ontario francophone?
6.    Quels sont les defis relies a la diffusion de l'oeuvre dramatique
franco-ontarienne actuellement?

PANELISTES - Joel Beddows, Sylvie Dufour, Lucie Hotte, Dominique Lafon,
Annick Leger, Patrick Leroux, Michel Ouellette, Francois Pare.
DATE - le vendredi 13 novembre 1998.
LIEU - La Salle academique de l'Universite d'Ottawa, 135, rue
Seraphin-Marion, Ottawa (ON).
HEURE - 14h30 - 16h30
RENSEIGNEMENTS - 613.233.0831
ENTREE LIBRE

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From rplant at CHASS.UTORONTO.CA  Mon Nov  9 10:10:06 1998
From: rplant at CHASS.UTORONTO.CA (Richard Plant)
Date: Mon, 9 Nov 1998 10:10:06 -0500
Subject: Lucie Robert, vice-chair, ASPP
Message-ID: 

Hello all:

Here's an announcement concenring the Aid to Shcolarly Publishing
Programme.

Richard Plant
Dept of Drama, Queen's University
and
Graduate Centre for Study of Drama, 
University of Toronto

From: Fedcan 
Subject:

It is with great pleasure that the Humanities and Social Sciences Federation
of Canada (HSSFC) announces the nomination of Dr. Lucie Robert as vice-chair
(Humanities) of the Aid to Scholarly Publications Programme's Management Board.

Dr. Robert is teaching at the D�partement d'�tudes litt�raires of the
Universit� du Qu�bec � Montr�al. She has been a member of the ASP
Publications Committee since 1994,
representing the discipline of French-Canadian Literature.

Dr. Robert's nomination will be confirmed at the Federation's annual
meetings which will be held in Ottawa at the end of November.

Chad Gaffield
President
Humanities and Social Sciences Federation of Canada

Humanities and Social Sciences Federation of Canada
Federation canadienne des sciences humaines et sociales
151 Slater Street, Suite 415, Ottawa, Ontario K1P 5H3
Tel:  (613) 238-6112; Fax:  (613) 238-6114
Email/Courrier electronique:  fedcan at hssfc.ca

From blajeune at TOTAL.NET  Mon Nov  9 18:55:23 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Mon, 9 Nov 1998 18:55:23 -0500
Subject: Encyclopedia this week
Message-ID: 

Hello all

Well, I've decided to include any person who has made a significant
contribution to Canadian theatre, be they what is commonly refered to as
"artist" or "crafts person". I will now be accepting recommendations and
resumes for and from stage managers, technicians etc. The subject was
debated at length and with great vigour in Candrama but I guess the
argument that won me over was from Dorothy Hadfield which reminded me that
we can't allow theatre history, especially in this country, to be written
by and about a select few. Her argument appealed directly to my sense of
democracy, and most importantly, to my ideas of why The Encyclopedia exists
and how it can continue to grow.

Meanwhile, traffic at the site is huge, debates continue and I still am
searching for information on companies in the West like TheatreOne
(formerly the Nanaimo Festival Theatre), and Caravan Farm Theatre.

I'd also like to add Group of Seven artist Lawren Harris (who worked in and
designed for theatre) to the site and would much appreciate any info on his
theatrical activities.

On to the additions:

Profiles Added:

Fleury, Karen (Technician, stage manager)
Centre for Indigenous Theatre (Organization)
Best, Wayne (Actor)
Blendick, James (Actor)
Guerin, Maude (Actor)

Profiles Updated:
Aboriginal Theatre; Highway, T.; Calderisi, D.; Schellenberg, A.;
Thompson, P.; Taylor, DH;  Foster, N.; Bravos and Boos; Theatre Calgary;
Carlson, L.; "L'Auberge des morts subites"; "Motel Helene"

Gaetan Charlebois (editor; http://www.canadiantheatre.com)

From kchung at CHASS.UTORONTO.CA  Tue Nov 10 01:13:51 1998
From: kchung at CHASS.UTORONTO.CA (Kathy Chung)
Date: Tue, 10 Nov 1998 01:13:51 -0500
Subject: Tremaine Medal / Medaille Tremaine (fwd)
Message-ID: 

---------- Forwarded message ----------
Date: Mon, 09 Nov 1998 14:48:32
From: ICCS/CIEC 
To: canadianist-list at synapse.net
Subject: Tremaine Medal / Medaille Tremaine

************************************************
TREMAINE MEDAL: Call for Nominations
La Medaille Tremaine: Candidatures
********************************************
The Marie Tremaine Medal is awarded by the Bibliographical Society of
Canada/Societe bibliographique du Canada for outstanding service to
Canadian bibliography and for distinguished publication in either
English or French in that field. The medal will be awarded in 1999,
preferably to a member of the Society and/or a Canadian citizen. Members of
the Council of the Society are not eligble for the award while they
are in office.

Previous recipients of the Tremaine Medal have been: Marie Tremaine, 1970;
John Hare and Jean-Pierre Wallot, 1973; Bruce Braden Peel, 1975; William
F.E. Morley, 1977; Reginald Eyre Watters, 1979; Olga Bernice Bishop, 1981;
Alan F.J. Artibise, 1983; Douglas Grant Lochhead, 1985; Agnes Cecilia
O'Dea, 1987; Sandra Alston, 1988; Gloria Strathern, 1989; Claude Galarneau,
1990; Patricia Fleming, 1992; Joan Winearls, 1993; Paul Aubin, 1994; and
Ernie Ingles, 1996.

The Tremaine Medal Committee now invites nominations for this award. Each
nomination must be supported by a biographical note, a list of principal
publications, and other relevant information, and sent by 31 January 1999
to: Chair, Tremaine Medal Committee, Bibliographical Society of Canada, c/o
Apollonia Steele, Special Collections, University of Calgary Library, 2500
University Drive N.W.,
Calgary, AB. T2N 1N4.

La Societe bibliographique du Canada/ Bibliographical Society of Canada
attribue la Medaille Marie Tremaine pour services exceptionnels rendus a la
cause de la bibliographie canadienne et pour des publications de haute
qualite dans ce domaine, soit en francais, soit en anglais. La Societe
compte decerner la Medaille en 1999, avec preference accordee aux membres
de la Societe et aux citoyens canadiens. Les membres du Conseil de la
Societe ne sont pas admissibles pendant les annees de leur
mandat.

La Medaille Tremaine a precedemment ete decernee a: Marie Tremaine, 1970;
John Hare et Jean-Pierre Wallot, 1973; Bruce Braden Peel, 1975; William
F.E. Morley, 1977; Reginald Eyre Watters, 1979; Olga
Bernice Bishop, 1981; Alan F.J. Artibise, 1983; Douglas Grant Lochhead,
1985; Agnes Cecilia O'Dea, 1987; Sandra Alston, 1988; Gloria Strathern,
1989; Claude Galarneau, 1990; Patricia Fleming, 1992; Joan Winearls, 1993;
Paul Aubin, 1994; et Ernie Ingles, 1996.

La Comite de selection de la Medaille Marie Tremaine sollicite des
candidatures pour le concours 1999. Veuillez faire parvenir les dossiers de
candidatures en les accompagnant d'une notice biographique, d'une liste de
publications, et de tout renseignements supplementaire pertinent, au plus
tard le 31 janvier 1999 a : Comite de la Medaille Marie Tremaine, Societe
bibliographique du Canada, c/o Apollonia
Steele, Special Collections, University of Calgary Library, 2500 University
Drive N.W., Calgary, AB. T2N 1N4

From kchung at CHASS.UTORONTO.CA  Tue Nov 10 01:22:51 1998
From: kchung at CHASS.UTORONTO.CA (Kathy Chung)
Date: Tue, 10 Nov 1998 01:22:51 -0500
Subject: Encyclopedia this week
In-Reply-To: 
Message-ID: 

On Mon, 9 Nov 1998, Gaetan Charlebois wrote:

> I'd also like to add Group of Seven artist Lawren Harris (who worked in and
> designed for theatre) to the site and would much appreciate any info on his
> theatrical activities.

That's a great idea.  When I have time, I can try to dig something up but
if others have more free time, I'd look into the history of Hart House
Theatre and theatrical activities at the Arts and Letters Club (Toronto)
for info about any of the Group of Seven's stage work... and I think more
than Harris participated.

How far do you want to go with artists participating in performance work?
You might also like to know that Jack Shadbolt, at one time, did several
theatre posters for the Vancouver Playhouse.  There certainly must be more
artists who did likewise.

What about performance art?

P.S. re the discussion about artistic stage managers.... I am learning
that to stage manage an OPERA, you'd better have music training (know how
to read music at the minimum) and several languages would also be useful.

Cheers, --- Kathy.
______________________________________________________________________________
Kathy Chung, PhD Candidate 
Graduate Drama Centre, University of Toronto
214 College St, 3rd Fl., Toronto, Ontario, CANADA  M5T 2Z9
Ph: (416) 926-9692   Fax: c/o Massey College, UT (416) 978-1759

From richard.partington at UTORONTO.CA  Tue Nov 10 14:04:10 1998
From: richard.partington at UTORONTO.CA (Richard Partington)
Date: Tue, 10 Nov 1998 11:04:10 PST
Subject: LAWREN HARRIS ET AL
Message-ID: 

Gaetan Charlebois and Kathy Chung requested info re Lawren Harris and his
theatrical activities.
I've been looking at this area a bit recently and will share a few things I have
found.
All the Group of Seven were members of the Toronto Arts and Letters Club (1908-) in
its early decades.
When Hart House Theatre was opened in 1919, courtesy of Vincent Massey, Roy
Mitchell of the TALC was appointed director, and he used many of the club's artists
as designers including, it would appear, all of the Group of 7. Here are some
details:

during Roy Mitchell's directorship:
-1919 - The Chester Mysteries - des. by JEH MacDonald [and Lawren Harris?] -
(music by Healey Willan - all of the cast from the TALC)
-1920 - Matsuo - (Takedo Izumo) - des. by Arthur Lismer
-1920 - You Never Can Tell (Shaw) - des. by Lawren Harris
-1920 - The New Sin (Basil Hastings) (they got into trouble for this one I think) - des.
by Lawren Haris
-1921 - Cymbeline (Shakespeare) - des. by Merrill Denison and Arthur Lismer

during Bertram Forsyth's directorship:
-1921 - Candida (Shaw) - des. Lawren Harris - (Raymond Massey as Marchbanks)
-1923 - The Toils of Yoshitomo - (Torohiko Tori) - des. by Arthur Lismer
-1925 - Gold (O'Neill) - des. by Arthur Lismer

That's all I know for the moment. Other details can be found in Augustus Bridle's
The Story of the Club (Toronto:1945) ; Merrill Denison's article "Hart House
Theatre" in Canadian Bookman  March 1923  61-63 and elsewhere. Ann Stuart
would probably have more detailed information, I think.

Thanks. Richard Partington

From imaclennan at NICKEL.LAURENTIAN.CA  Wed Nov 11 17:14:06 1998
From: imaclennan at NICKEL.LAURENTIAN.CA (Ian MacLennan)
Date: Wed, 11 Nov 1998 14:14:06 -0800
Subject: Call for papers-Tennessee Williams Symposium
Message-ID: 

Call for Papers:

ONE DAY SYMPOSIUM ON TENNESSEE WILLIAMS
SATURDAY, 13 MARCH 1999

To continue the celebration of the opening of the new theatre complex at
Thorneloe University, a federated university of Laurentian University of
Sudbury.

Papers are requested on any aspect of Tennessee Williams' life and/or
work.
(15-20 min. in length - AV support available)

As part of Thorneloe Theatre Arts Mainstage season, there will be an
evening performance of THE GLASS MENAGERIE in the new theatre.

Please submit abstracts or proposals (200-300 words) by 15 Dec. 1998 to:

Dr. Ian Maclennan
Tennessee Williams Symposium
Thorneloe University at Laurentian
Ramsey Lake Road
Sudbury, Ontario, Canada  P3E 2C6
tel: (705)673-1730 x24
fax:(705)673-4979
email: imaclennan at nickel.laurentian.ca

From blajeune at TOTAL.NET  Thu Nov 12 01:00:03 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Thu, 12 Nov 1998 01:00:03 -0500
Subject: Theatre on the web
Message-ID: 

Hello all

A gentleman from Korea contacted me and asked if there is any theatre on
the web (as in performances). I do believe that this has been tried, and in
this country. Do any of you have the URLs?

Thanks in advance.

Gaetan Charlebois

From blajeune at TOTAL.NET  Thu Nov 12 01:03:16 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Thu, 12 Nov 1998 01:03:16 -0500
Subject: National coverage
Message-ID: 

I don't know about the rest of you but after months of forcing myself to
slog through the Globe and Mail and just a couple of weeks of the National
Post, I've given up on any kind of national theatre coverage emerging from
Toronto (don't get me started on MacLeans). I think the final insult came
with the first Sat. edition of the Post not having a word about
theatre...anywhere. And if I open our soi-disant National Paper (G&M) one
more time to find JUST the theatre in Toronto covered, I'll join a
monastery.  Why aren't we, in the rest of the country, more yanked off
about this?

Gaetan Charlebois

From cottreau at DUKE.USASK.CA  Thu Nov 12 11:53:03 1998
From: cottreau at DUKE.USASK.CA (Deborah A. Cottreau)
Date: Thu, 12 Nov 1998 10:53:03 -0600
Subject: National coverage
In-Reply-To: 
Message-ID: 

Gaetan et al,

I never really understood how "Torontocentric" this country was until I
moved further and further away from the so-called "centre".  If you feel
this way in Montreal, Canada's second largest urban centre, imagine how
they feel in St John's where they do some amazing, kick-ass work, or haow
they feel here in Saskatchewan, which, generally speaking, is overlooked
by the rest of Canada most of the time -- except, of course, when Lepage
comes to co-direct...

Deborah Cottreau

On Thu, 12 Nov 1998, Gaetan Charlebois wrote:

> I don't know about the rest of you but after months of forcing myself to
> slog through the Globe and Mail and just a couple of weeks of the National
> Post, I've given up on any kind of national theatre coverage emerging from
> Toronto (don't get me started on MacLeans). I think the final insult came
> with the first Sat. edition of the Post not having a word about
> theatre...anywhere. And if I open our soi-disant National Paper (G&M) one
> more time to find JUST the theatre in Toronto covered, I'll join a
> monastery.  Why aren't we, in the rest of the country, more yanked off
> about this?
>
> Gaetan Charlebois
>

From mullaly at UNB.CA  Thu Nov 12 12:28:43 1998
From: mullaly at UNB.CA (Edward Mullaly)
Date: Thu, 12 Nov 1998 13:28:43 -0400
Subject: National coverage
Message-ID: 

Yes, indeed. While I do enjoy having Toronto there to visit, I must agree
that it is our most provincially-minded and artistically insulated area. But
I'm not sure how to bridge the moat................

At 10:53 AM 11/12/1998 -0600, Deborah A. Cottreau wrote:
>Gaetan et al,
>
>I never really understood how "Torontocentric" this country was until I
>moved further and further away from the so-called "centre".  If you feel
>this way in Montreal, Canada's second largest urban centre, imagine how
>they feel in St John's where they do some amazing, kick-ass work, or haow
>they feel here in Saskatchewan, which, generally speaking, is overlooked
>by the rest of Canada most of the time -- except, of course, when Lepage
>comes to co-direct...
>
>Deborah Cottreau
>
>On Thu, 12 Nov 1998, Gaetan Charlebois wrote:
>
>> I don't know about the rest of you but after months of forcing myself to
>> slog through the Globe and Mail and just a couple of weeks of the National
>> Post, I've given up on any kind of national theatre coverage emerging from
>> Toronto (don't get me started on MacLeans). I think the final insult came
>> with the first Sat. edition of the Post not having a word about
>> theatre...anywhere. And if I open our soi-disant National Paper (G&M) one
>> more time to find JUST the theatre in Toronto covered, I'll join a
>> monastery.  Why aren't we, in the rest of the country, more yanked off
>> about this?
>>
>> Gaetan Charlebois
>>
>
>
-----------------------------------------------------------------

Edward Mullaly                Consensus is unnatural for us.
Department of English         We're an English Department.  Let's
University of New Brunswick,  act like one.
Fredericton, NB  E3B 5A3
CANADA  (506) 453-4676                    -- Russo, 'Straight Man'
   fax: (506) 453-5069

From escript at SINGLELANE.COM  Thu Nov 12 11:28:41 1998
From: escript at SINGLELANE.COM (E-script)
Date: Thu, 12 Nov 1998 09:28:41 -0700
Subject: National coverage
In-Reply-To: 
Message-ID: 

Gaetan wrote:

>Why aren't we, in the rest of the country, more yanked off
>about this?
We are. Or at least, I am. I can speak with some working familiarity with the mindset of the people running national print media, esp. the Post. Theatre is regarded by them, I think, as a local story; unlike a book, which anyone can pick up and read, only a fraction of their readers can choose to go see a play under review. The Globe, after being blasted for years for regarding Toronto theatre as somehow less local than theatre elsewhere, has pulled back on running Toronto reviews in its national edition (at least the one I see in B.C.); but it has not picked up the slack in any ongoing way with reviews from elsewhere. Why? Money; internal politics; centralism; disinterest: it's clear their pages are skewing towards pop culture anyway (and the Post's started there).

I don't doubt these publications would be susceptible to onslaughts of letter-writing, or representations from national theatre organizations on the matter. But the real solution, it seems to me, is for some entrepreneurial person (with time on their hands), or some concerned institution, to grab hold of the new media -- in particular, the one we're using right now, the internet -- and set up an electronic publication which would cover theatre in a national way.

Meantime, if I want to know what's going on in theatre elsewhere, I read local papers on the web.

Regards,

Frank Moher
***
E-script
the internet's scriptwriting workshop

From nicholsg at UMONCTON.CA  Thu Nov 12 13:11:42 1998
From: nicholsg at UMONCTON.CA (Glen Nichols)
Date: Thu, 12 Nov 1998 14:11:42 -0400
Subject: National coverage
Message-ID: 

If I may be so bold as to add something to this discussion (and I 
will refrain from Toronto bashing, although it IS fun!)... one way 
*we* can make a difference is to begin discussing and talking 
about theatre in our regions more HERE on CANDRAMA (and in 
our Newsletter, and.....) .  True, Toronto is the site of the biggest 
media concentration, but dominance from the centre is not just a 
matter of the centre being loudest, but the rest of us being too 
quiet.

So let's hear about that the "kick-ass work" in St.John's, or 
Kamloops or Lethbridge, or (heaven forfend!) Moncton!

Just my two-cents worth
Glen

Glen Nichols
Département d'anglais
Université de Moncton
Moncton, N.-B.   E1A 3E9
tél: (506)858-4244; télécop: (506)858-4166

From skincaid at NBNET.NB.CA  Thu Nov 12 16:12:09 1998
From: skincaid at NBNET.NB.CA (Stephen Kincaid)
Date: Thu, 12 Nov 1998 17:12:09 -0400
Subject: National coverage i.e Moncton
Message-ID: 

So what is happening "theatre wise" in Moncton? I live 45 minutes from
Moncton and have approximately 10 years theatre experience and would love to
become involved in discussions about or network with the theatre communities
of Moncton or New Brunswick.

Stephen

-----Original Message-----
From: Glen Nichols 
To: CANDRAMA at LISTSERV.UNB.CA 
Date: Thursday, November 12, 1998 2:19 PM
Subject: Re: National coverage

So let's hear about that the "kick-ass work" in St.John's, or
Kamloops or Lethbridge, or (heaven forfend!) Moncton!

Just my two-cents worth
Glen

From rixax at VEX.NET  Thu Nov 12 18:28:12 1998
From: rixax at VEX.NET (Rick Sacks - Percussionist)
Date: Thu, 12 Nov 1998 18:28:12 -0500
Subject: National coverage
In-Reply-To: 
Message-ID: 

I find the quote "..how Torontocentric this country is.." a little
disturbing. It's like playing telephone when I was a kid. The original
posting was about how the NEWSPAPERS report (what journalists are writing
about etc. Now we're confronted with "The Country" . Who's that?

Anyway, here in Toronto I get pissed off about the incredible amount of
space devoted to hollywood.

Rick Sacks
proprietor of Rik's Cafe Canadian at:
http://www.vex.net/rikscafe

From dlemac at IS2.DAL.CA  Thu Nov 12 20:47:08 1998
From: dlemac at IS2.DAL.CA (Laura MacDonald)
Date: Thu, 12 Nov 1998 21:47:08 -0400
Subject: National coverage
In-Reply-To: 
Message-ID: 

I just saw a terrific opera which due to our lack of national arts
coverage, probably won't receive much, if any, national attention.  It's
The Emperor of Atlantis and was written by prisoner Viktor Ullmann in the
Terezin concentration camp between 1942-44.  Between now and Wednesday you
can catch it in Halifax, Wolfville, Fredericton, Charlottetown and
Antigonish.  Go see it.

Laura MacDonald

It's better to have had your wish than to have wished you had.

                                                -- Carl Sigman

From blajeune at TOTAL.NET  Thu Nov 12 23:19:30 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Thu, 12 Nov 1998 23:19:30 -0500
Subject: National coverage
In-Reply-To: <364B26C1.2A91B0CA@uleth.ca>
Message-ID: 

>You mean there is theatre in Canada outside T'ronna?  As you say, you wouldn't
>know it from the "national" press - except when occasionally they go to NY.
>And if you read the entertainment page of our local paper, you'd be inclined
>to believe that for the most part it was printed in Burbank.
>
>Brian Parkinson
>
>Gaetan Charlebois wrote:
>
>> I don't know about the rest of you but after months of forcing myself to
>> slog through the Globe and Mail and just a couple of weeks of the National
>> Post, I've given up on any kind of national theatre coverage emerging from
>> Toronto (don't get me started on MacLeans). I think the final insult came
>> with the first Sat. edition of the Post not having a word about
>> theatre...anywhere. And if I open our soi-disant National Paper (G&M) one
>> more time to find JUST the theatre in Toronto covered, I'll join a
>> monastery.  Why aren't we, in the rest of the country, more yanked off
>> about this?
>>
>> Gaetan Charlebois

I got a better one. Cirque du Soleil opened a new show in Las Vegas in a
theatre that was created especially for it. Our local newspaper, The
Gazette, covered the opening with two articles: one from the New York Times
and one from a Vegas paper!

Gaetan

From beyehl at ULETH.CA  Thu Nov 12 23:20:32 1998
From: beyehl at ULETH.CA (Howard Beye)
Date: Thu, 12 Nov 1998 21:20:32 -0700
Subject: stars function as points of light
Message-ID: 

Candrama come in please.......@#$%#^& (that is equivalent to radio
static)
Candrama come in please.......#$%@^&#$
There seems to be a lot of static on this channel........#$%@#$
This is Lethbridge calling....come in please......report your
position.........^#$%###$@
Gosh and golly i wanted to hear about Canadian theatre and all i can get
is the sound somewhat like the hum in the speakers when the stereo is on
and there isn't any music playing........#$%@#$^#
Gaetan is concerned about the lack of the regional voice for theatre in
the supposed national newspaper........@^^&%^$........i am sorry but you
are all broken up........@#$#$%#$%
Glen Nichols wants to have a dialogue about Canadian Theatre on the
Candrama listserv........%#$%#$%.........WOW......let me take a minute
with this.....that is a revolutionary concept.....@$@#$%%#%#$%......What
did you say.....the static is awful.........it is making it very
difficult to communicate...i will sign off now and try again
later......I hope this message gets through to all the stations in the
CANDRAMEDA galaxy.;
The brat from U Leth
Howard

From blajeune at TOTAL.NET  Thu Nov 12 23:42:36 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Thu, 12 Nov 1998 23:42:36 -0500
Subject: National coverage i.e Moncton
In-Reply-To: <006c01be0e81$1cdbf5e0$32a1b3cf@sir-dash>
Message-ID: 

>So what is happening "theatre wise" in Moncton? I live 45 minutes from
>Moncton and have approximately 10 years theatre experience and would love to
>become involved in discussions about or network with the theatre communities
>of Moncton or New Brunswick.
>
>Stephen
>
>-----Original Message-----
>From: Glen Nichols 
>To: CANDRAMA at LISTSERV.UNB.CA 
>Date: Thursday, November 12, 1998 2:19 PM
>Subject: Re: National coverage
>
>
>So let's hear about that the "kick-ass work" in St.John's, or
>Kamloops or Lethbridge, or (heaven forfend!) Moncton!
>
>Just my two-cents worth
>Glen

You know, at Link Exchange (my counter service), they offer the creation of
mailing/discussion lists free of charge and this could be a great way for
regional groups to network.

Gaetan

From petereff at MAIL.GEOCITIES.COM  Fri Nov 13 04:22:15 1998
From: petereff at MAIL.GEOCITIES.COM (Peter Freund)
Date: Fri, 13 Nov 1998 05:22:15 -0400
Subject: stars function as points of light
Message-ID: 

Howard,

Have you got something to say?

>Candrama come in please.......@#$%#^& (that is equivalent to radio
>static)
>Candrama come in please.......#$%@^&#$
>There seems to be a lot of static on this channel........#$%@#$
>This is Lethbridge calling....come in please......report your
>position.........^#$%###$@
>Gosh and golly i wanted to hear about Canadian theatre and all i can get
>is the sound somewhat like the hum in the speakers when the stereo is on
>and there isn't any music playing........#$%@#$^#
>Gaetan is concerned about the lack of the regional voice for theatre in
>the supposed national newspaper........@^^&%^$........i am sorry but you
>are all broken up........@#$#$%#$%
>Glen Nichols wants to have a dialogue about Canadian Theatre on the
>Candrama listserv........%#$%#$%.........WOW......let me take a minute
>with this.....that is a revolutionary concept.....@$@#$%%#%#$%......What
>did you say.....the static is awful.........it is making it very
>difficult to communicate...i will sign off now and try again
>later......I hope this message gets through to all the stations in the
>CANDRAMEDA galaxy.;
>The brat from U Leth
>Howard

From beyehl at ULETH.CA  Fri Nov 13 05:53:14 1998
From: beyehl at ULETH.CA (Howard Beye)
Date: Fri, 13 Nov 1998 03:53:14 -0700
Subject: the nebulosity function
Message-ID: 

hello to all the gang from lethbridge,
    A fellow student and i are doing Oleanna here at the university as
an independent study project. a couple of things first off john's
disjointed phone call's are very difficult to learn has anybody found a
trick for that. Second we are rehearsing in whatever space we can find,
classrooms, offices and hallways each space seems to alter the tenor of
the rehearsal the more cramped the space the more tension there seems to
be in the relationship between carol and John. It is very interesting it
reminds me of a class that was held here last year called applied
theatre. students essentially finding theatre in taped conversations
with average people or through interpreting poetry and photographs. one
performance was done in the corner of the black box theatre. we arrived
and the only light in the room was over in the far corner. the set
pieces were a ladder and a bench. There weren't any chairs set up for
the audience either so we had to find a chair and then decide where to
sit. being brave student thespians we put our chairs as close to the
action as we could so that, with our chairs and ourselves, we had walled
off this corner of the room which now was a triangle approximately five
meters on all sides. into the space marched the ten or so class members
and proceeded to wow us with an amazing forty five minutes of theatre.
    talk to me about acting space i have heard of performances in horse
stalls sans horse, in cobwebby basements, there was a show that a couple
of people did in a van and it was parked outside the calgary center for
the performing arts at last years playrites festival. unfortunately i
wasn't able to see the show. the assistant dean of the theatre arts
division here at the U of L, was chiding me only last month that the
students did not make more use of the different space that was available
in and around our campus. i have to agree with her i am stuck in the
gotta have the lights and sound rut. how do you encourage your students
to see past some of that.
    i always got something to say peter but i like to listen too and
with two hundred and sixty members of the list that would be one a day
multiple thespians for almost the whole year in fact if we just count
work days..... the possibilities are endless.
howard
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From greid at COURRIER.USHERB.CA  Fri Nov 13 10:30:54 1998
From: greid at COURRIER.USHERB.CA (Gregory Reid)
Date: Fri, 13 Nov 1998 10:30:54 -0500
Subject: National coverage
Message-ID: 

Laura M's message reminded me of something that perhaps ties together a lot
of the comments that have been made on Toronto-centrism (and how the
phenomenon may not really be about Toronto).  1979 and by sheer coincidence
I was in the CBC control room in Toronto where they receive the feeds and
select what will be broadcast on the National News.  The control room was
generally a low-level noisy place with a lot of people doing their business
in muted tones, but somebody called out, "here look at this" and then there
was absolute quiet and wrapt attention while everyone in the control room
watched the feed from Montreal of a scene from a play called Balconville.
Someone mentioned that they would make history if they chose to broadcast
the scene: the first time that CBC television news had deliberately
broadcast the word "fuck."  The News spot where the scene might have been
broadcast that night was filled by the announcement that "John Wayne was
resting comfortable," his third day of hospitalization if I remember correctly.
                                        Greg Reid

At 21:47 12-11-1998 -0400, you wrote:
>I just saw a terrific opera which due to our lack of national arts
>coverage, probably won't receive much, if any, national attention.  It's
>The Emperor of Atlantis and was written by prisoner Viktor Ullmann in the
>Terezin concentration camp between 1942-44.  Between now and Wednesday you
>can catch it in Halifax, Wolfville, Fredericton, Charlottetown and
>Antigonish.  Go see it.
>
>Laura MacDonald
>
>It's better to have had your wish than to have wished you had.
>
>                                                -- Carl Sigman
>

From barrow at IDIRECT.COM  Fri Nov 13 14:12:50 1998
From: barrow at IDIRECT.COM (Ann Barrow)
Date: Fri, 13 Nov 1998 11:12:50 -0800
Subject: [Fwd: (no subject)]
Message-ID: 

Dear Sir or Madame:

Please find enclosed a request for information that you may possess.

Thank you for your time and assistance.

Sincerely,

A. Barrow:  barrow at idirect.com
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Subject: Re: (no subject)
Date: Thu, 12 Nov 1998 00:49:29 -0500
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From andrews at IS.DAL.CA  Fri Nov 13 07:32:17 1998
From: andrews at IS.DAL.CA (Alan Andrews)
Date: Fri, 13 Nov 1998 12:32:17 +0000
Subject: National coverage
Message-ID: 

I endorse Laura Macdonald's enthusiastic comment on The Emperor of
Atlantis.  The staging, by Tibor Egervari, is basic, but neat and well
focussed; the music, and performance of it under Georg Tintner, remarkable;
the opportunity rare.
Alan Andrews,
Chairperson, Department of Theatre.
Dalhousie University, HALIFAX, NS. Canada B3H 3J5

Tel: (902)494-2241; facs: (902)494-1499.

E-mail: alan.andrews at dal.ca

From drj at SHAWFEST.COM  Fri Nov 13 12:14:50 1998
From: drj at SHAWFEST.COM (Denis Johnston)
Date: Fri, 13 Nov 1998 12:14:50 -0500
Subject: Highway and The Trickster
Message-ID: 

I wrote a piece some years ago (1990??) on Tomson Highway's plays, under
the main title "Lines and Circles". It was published in the journal
Canadian Literature, which is widely available, and has since been
reprinted elsewhere. I mention it because there were some footnoted
quotes from Highway on his treatment of the Trickster. These could lead
you to some sources.
Denis Johnston
Shaw Festival

Ann Barrow wrote:
>
> Dear Sir or Madame:
>
> Please find enclosed a request for information that you may possess.
>
> Thank you for your time and assistance.
>
> Sincerely,
>
> A. Barrow:  barrow at idirect.com
>
>     ---------------------------------------------------------------
>
> Subject: Re: (no subject)
> Date: Thu, 12 Nov 1998 00:49:29 -0500
> From: blajeune at total.net
> To: Ann Barrow 
>
> >Dear Editor:
> >
> >I am searching for Tomson Highway's critique of the theme of "trickster"
> >in North American literature.  Can you please direct me to the proper
> >source?
> >
> >Thank you,
> >
> >Ms. Barrow
> >
> >e mail:  barrow at idirect.com
>
> Hello Ms. Barrow
>
> Off hand I do not have the information (though when I interviewed Highway
> years ago, we did talk about it at length).
>
> You might consider joining the Canadian theatre discussion listserv
> CANDRAMA and someone there is bound to point you in the right direction
> much faster than I could alone. It is at: CANDRAMA at LISTSERV.UNB.CA.
>
> Good luck.
>
> Gaetan Charlebois (editor)

From FORSYTHE at BRANDONU.CA  Fri Nov 13 11:53:57 1998
From: FORSYTHE at BRANDONU.CA (James Forsythe)
Date: Fri, 13 Nov 1998 10:53:57 -0600
Subject: Oleanna
Message-ID: 

Howard:

I did Oleanna here at Brandon University a few years ago.  I too, found the
phone calls extremely difficult to learn.
You may have already tried this but for what its worth:
Tie each unit of the call to specific blocking.  I was tied to a phone cord
but you can still use small movements of both you and Carol, eye contact,
changing hands etc.  It might even be easier with a cordless.
Make sure you have a full and specific image of your wife.  I used pictures
etc of my own life.
The director also allowed us time in rehearsal for the actress who played
Carol, Abigail Kitt-Macpherson, and I to improvise those calls with Abigail
playing my wife.
If it is any consolation I never ever got them all word perfect.
It was an interesting experience as I was at the time up for tenure here at BU.

On another topic.  The Faculty Association has just concluded, successfully,
a 3 day strike against the Administration.  I never thought walking could be
so painful.  I found picketing to be a very 'dramatic' experience.

Cheers,
Jim Forsythe

From john.poulsen at ULETH.CA  Fri Nov 13 11:25:32 1998
From: john.poulsen at ULETH.CA (John Poulsen)
Date: Fri, 13 Nov 1998 10:25:32 -0600
Subject: G&B
Message-ID: 

RIGHT ON GAETAN!!

"Slogging through the Globe and Mail" is how I feel when I read out
national newspaper.  I too had great hopes for the National Post.

John

From nicholsg at UMONCTON.CA  Fri Nov 13 12:42:21 1998
From: nicholsg at UMONCTON.CA (Glen Nichols)
Date: Fri, 13 Nov 1998 13:42:21 -0400
Subject: Emperor of Atlantis
Message-ID: 

Thanks Alan and Laura for the blurbs and comments on the Opera. I'd seen a poster for it and thought it might be interesting. Now I know I will try to take it in.

See.. this communications thing can work!  Maybe it'll mean at least one more ticket for this show.
Glen

Glen Nichols
Département d'anglais
Université de Moncton
Moncton, N.-B.   E1A 3E9
tél: (506)858-4244; télécop: (506)858-4166

From deborah.tihanyi at UTORONTO.CA  Fri Nov 13 11:35:24 1998
From: deborah.tihanyi at UTORONTO.CA (Deborah Tihanyi)
Date: Fri, 13 Nov 1998 11:35:24 EST
Subject: national coverage and 'Canadian culture'
Message-ID: 

I've found the recent discussion on the national coverage of theatre
in the media very interesting.  Now living in Toronto (but originally
from Montreal, and having lived in Edmonton), I would like to point
out that 'Toronto-centrism' only goes so far, in that when we talk
about Toronto theatre, it usually includes only the larger, more
mainstream theatres (among them those which used to be part of the
'alternate' category).  There are plenty of smaller theatre
companies--yes, even in Toronto--who are doing interesting work
without 'national coverage.'  The larger issue here might be the
coverage of theatrical events that are lower on the economic food
chain--how can this happen?  Fringe Festivals have certainly
contributed to the raising of profile of smaller ventures; advocacy
and administrative groups have also helped in terms of pooling
resources for publicity.  I'm always encouraged by the discussion of
theatre on Candrama--particularly from other parts of the country; we
can be a conduit for information that slips through the cracks of
mainstream media.  (re:  _The Emperor of Atlantis_ currently running
in the Maritimes--any chance we could get a mini-review?  Is there a
published script available?)

And, speaking of Canadian culture . . .
Has anyone been watching _Made in Canada_?  (It's an interesting
commentary on the influence of Hollywood on the creation of Canadian
cultural 'product,' amongst other things . . .)  There have been a
number of exceptional television programs dealing with the subject
over the past few years (notably Ken Finkleman's _The Newsroom_ and
_More Tears_).  Having done some television myself, and knowing that
the reality in this country is that many theatre practitioners become
involved with other media in order to make a living, this might be
another direction our discussion could take . . .

Food for thought.
Deborah

From paul_m_malone at EMAIL.MSN.COM  Fri Nov 13 13:43:36 1998
From: paul_m_malone at EMAIL.MSN.COM (paul_m_malone)
Date: Fri, 13 Nov 1998 13:43:36 -0500
Subject: National coverage
Message-ID: 

Hello folks,

It's hard to overlook how "Torontocentric" Canada is if you grow up in the
west. It's only the last couple of federal elections that they've actually
waited for the polls in B.C. to close before declaring a winner. (My aunt
from Saskatchewan used to say, quite seriously, "Who cares how you vote out
west [sic!], you're all Communists anyway.") And ten years ago, when I was
doing my M.A. in Hamilton, Sunday shopping was unheard of in most of
Ontario, and you couldn't find an open restaurant on a weekday evening;
coming from Calgary, I thought I'd landed in Hicksville, until I heard
Hamilton schoolchildren use "Albertan" as a synonym for "retarded." Then I
realized I was supposed to be the hick.
My main theatrical memories of Toronto during that year are of how awful
most of the theatre I saw was (worst of all at U of T), and of a review of
_Unidentified Human Remains_ in one of the local minor-league entertainment
mini-tabloids that started out something like, "Brad Fraser's play, like all
Western plays, is about isolation and unemployment . . ." and continued in
terms something like an anthropological description of Finnish clog dancing;
quaint stuff, and worth a look if you don't have anything important to do.
Although we as academics generally do a better job of covering the national
bases than the journalists do, and there are some excellent collections of
both plays and criticism which either concentrate on the non-central regions
or represent a broad national spectrum, sometimes academic coverage falls
into the same Toronto-centric attitude. It isn't uncommon for most of the
sessions at the Learneds to focus on Toronto or southern Ontario (usually
labelled as "Canadian"; other theatre is often labelled "regional"); and
during lunch a few Learneds ago, I remember the amused disgust with which a
couple of U of T grad students responded to the announcement of a two-day
conference in Vancouver on Vancouver theatre (exagerrated for polemic
effect): "Ooooh, yeeccchhh, grody, who'd want to spend a whole weekend
talking about theatre in Vancouver?" The fact that we were spending most of
four days talking about theatre in Toronto was something they took as divine
right. (Okay, I was presenting a paper on Michel Tremblay; but usually I
write about western theatre--or German theatre.) Of course, in a country
this size, it's also a problem that most of our annual conferences are held
in the eastern half of the country, and often some westerners simply can't
afford to go; when the Learneds are held out west, many easterners don't
show up.
The problem is, when our entire culture is permeated with these biases, how
can either journalism or academia rise above it? I think academia does a
pretty good job sometimes; but I gave up on journalism overcoming this
particular hurdle before I even got a driver's license. Maybe what we need
is a truly national _online_ theatre review service . . .  Something
small-scale enough that Conrad Black won't ever be tempted to buy it.
This message is already too long, so I'm quitting here.

Paul M. Malone
Visiting Assistant Professor
Department of Germanic and Slavic Languages and Literatures
University of Waterloo
Waterloo, Ontario, N2L 3G1
CANADA

-----Original Message-----
From: Deborah A. Cottreau 
To: CANDRAMA at hermes.csd.unb.ca 
Date: November 12, 1998 11:58 AM
Subject: Re: National coverage

>Gaetan et al,
>
>I never really understood how "Torontocentric" this country was until I
>moved further and further away from the so-called "centre".  If you feel
>this way in Montreal, Canada's second largest urban centre, imagine how
>they feel in St John's where they do some amazing, kick-ass work, or haow
>they feel here in Saskatchewan, which, generally speaking, is overlooked
>by the rest of Canada most of the time -- except, of course, when Lepage
>comes to co-direct...
>
>Deborah Cottreau
>
>On Thu, 12 Nov 1998, Gaetan Charlebois wrote:
>
>> I don't know about the rest of you but after months of forcing myself to
>> slog through the Globe and Mail and just a couple of weeks of the
National
>> Post, I've given up on any kind of national theatre coverage emerging
from
>> Toronto (don't get me started on MacLeans). I think the final insult came
>> with the first Sat. edition of the Post not having a word about
>> theatre...anywhere. And if I open our soi-disant National Paper (G&M) one
>> more time to find JUST the theatre in Toronto covered, I'll join a
>> monastery.  Why aren't we, in the rest of the country, more yanked off
>> about this?
>>
>> Gaetan Charlebois
>>
>

From blajeune at TOTAL.NET  Fri Nov 13 17:23:00 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Fri, 13 Nov 1998 17:23:00 -0500
Subject: National coverage
Message-ID: 

>The problem is, when our entire culture is permeated with these biases, how
>can either journalism or academia rise above it? I think academia does a
>pretty good job sometimes; but I gave up on journalism overcoming this
>particular hurdle before I even got a driver's license. Maybe what we need
>is a truly national _online_ theatre review service . . .  Something
>small-scale enough that Conrad Black won't ever be tempted to buy it.
>This message is already too long, so I'm quitting here.
>
>Paul M. Malone

You see, what I am having trouble grasping here is the devolution of
theatre coverage. When my first play opened in Edmonton in 1979, Jamie
Portman, of Southam, interviewed me and reviewed it. The article appeared
across the country. Portman was saying, in effect, here is an interesting
new play and though it is being done in a tiny theatre in Edmonton, it
might be worth considering...As a result, discussion of the play and
playwright occured nation-wide and the play was subsequently produced in
Toronto, Montreal, Calgary, Minneapolis, London (England) on TV, radio in
French and English. It seems to me the job of so-called National Papers
should be to say: here is something that directors/ADs should have a look
at and that all Canadian will find interesting. Many, many plays in the 70s
and early 80s got discussed and produced because of this kind of national
coverage. I think it's scandalous that I have to go scrounging about for
info on plays produced in BC or NS, even though the plays may be of
national import or - like Norm Foster's works - can transcend (sp?) their
regional content and make people laugh/cry everywhere in the nation. How
can we hope to create an evolving national theatrical character? Especially
when ADs are getting lazier and are reading less and are saying, "We have
to produce Pultizer-Prize-Winner 'A' because there is nothing exciting
across Canada!" And what about the new Tremblay, Walker, Pengilly,
Hollingsworth that was a huge success in that one-shot production? They
didn't see it, read it, hear about it. They didn't have the funds, as they
used to, to get on a plane and go to Edmonton/Halifax/Regina to have a look
at it and to see how an audience embraced the work. Well, fine. It was the
job of the Post and the G&M to make up for that loss of funding and to draw
attention to that production and everytime we spend our 60 cents to buy
these papers, we are giving them permission not to do that job...

Whew.

Gaetan Charlebois

From GLV at COMPUSERVE.COM  Fri Nov 13 20:14:50 1998
From: GLV at COMPUSERVE.COM (Guillermo Verdecchia)
Date: Fri, 13 Nov 1998 20:14:50 -0500
Subject: National Coverage
Message-ID: 

I think the people at the Post and G&M will tell you -- the former
publisher of the Globe said so a few years ago -- that their job is to
deliver an audience ( a readership) to advertisers. Their job is not to
cover the "news",  afflict the comfortable or comfort the afflicted, least
of all is it to provide arts criticism. No, their job is to sell
advertising. 

Gaetan's experience appears to demonstrate that there was a time when
newspapers had other goals or philosophies. In these lean and mean times,
newspapers can no longer afford such altruism.

GLV

>  It was the
> job of the Post and the G&M to make up for that loss of funding and to
draw
> attention to that production and everytime we spend our 60 cents to buy

From beyehl at ULETH.CA  Fri Nov 13 22:46:18 1998
From: beyehl at ULETH.CA (Howard Beye)
Date: Fri, 13 Nov 1998 20:46:18 -0700
Subject: altruism is a thing of the past?
Message-ID: 

wow folks Gaetan struck a nerve, i worked as a studio potter in a
workshop ten feet wide and twenty feet long all by myself  ten miles
outside of Creston BC Canada for five years. I would listen to CBC all
day long and found that i really connected with Canada. The CBC for any
of its faults had as its primary mandate to reflect Canada back to
itself, good bad or ugly. Well  you know the story government
money....lean mean times..... etc etc...i guess your right Guillermo the
drive for the dollar is understandable acceptable and forgivable. I
didn't realize how tough it is to be Conrad Black.
    Now i am aspiring to a career in theatre and i am told that i should
perhaps put aside my idealism.... granted i haven't yet been in the real
world of the theatre....but i have been in the real world working for
years. Yes i will take the paycheck of Phantom if it were available but
what i want to do is theatre that challenges, enlivens, disputes,
contradicts, complains, explains, destabalizes, attracts, and causes
heart attacks. But how am i to go out with, as Chaucer put it in the
cantebury tales, `Stout heart and full devout courage' if i have to
accept as a role model, a company holding itself up as a national voice
that can not and will not be held accountable for its hypocrisy
because........In these lean and mean times, newspapers can no longer
afford such altruism.......bullshit...... if the Globe and Mail or the
new National Post want to advertise themselves as National Newspapers
then they should shit or get of the pot.
Howard

From GLV at COMPUSERVE.COM  Sat Nov 14 10:38:50 1998
From: GLV at COMPUSERVE.COM (Guillermo Verdecchia)
Date: Sat, 14 Nov 1998 10:38:50 -0500
Subject: altruism is a thing of the past?
Message-ID: 

Howard,

May I respectfully suggest that 1) you read postings carefully and 2) look
up IRONY in the dictionary.

Guillermo Verdecchia

From GLV at COMPUSERVE.COM  Sat Nov 14 10:51:15 1998
From: GLV at COMPUSERVE.COM (Guillermo Verdecchia)
Date: Sat, 14 Nov 1998 10:51:15 -0500
Subject: Apology
Message-ID: 

I mistakenly copied my last posting (re: altruism) to Candrama. It is
inappropriate for the list and I apologize to all.

Guillermo Verdecchia

From beyehl at ULETH.CA  Sat Nov 14 11:46:40 1998
From: beyehl at ULETH.CA (Howard Beye)
Date: Sat, 14 Nov 1998 09:46:40 -0700
Subject: octagonal indices encourage ignition
Message-ID: 

to the list,
    Apologies to guillermo first and to the list. I  will join you again
when i've learned manners, and I figure out what I want from this list.
cheers howard

From drj at SHAWFEST.COM  Sat Nov 14 13:40:39 1998
From: drj at SHAWFEST.COM (Denis Johnston)
Date: Sat, 14 Nov 1998 13:40:39 -0500
Subject: National coverage
Message-ID: 

In the 1940s Lister Sinclair wrote a radio play called something like
"We All Hate Toronto," based on the notion that a widespread disdain for
Hogtown is one of the few national impulses that holds this country
together. I don't think that this was a new idea even then, and
CANDRAMA's recent discussion shows that it is still strongly felt.

As a person born and raised in Victoria BC, and who lived there for 30
of my first 32 years, I would like to say a few meek words in favour of
the cultural advantages of the city we all love to hate. Like Paul
Malone, I too saw a lot of bad plays at the University of Toronto --
hell, I was even IN some of them. But I also saw a lot of plays that I
would have never seen anywhere else -- a particularly appalling
production of _Aminta_ springs to mind, that benchmark of Italian
pastoral romance, always mentioned in theatre history classes but never
read, let alone performed. Gosh, I'm glad I saw that show, no matter how
bad it was. You gotta kiss a lot of toads etc etc.

The population and energy of Toronto attract a lot of artists who do a
lot of good work. You can probably see more plays in a year in Toronto
than you can even in New York, because the small theatre scene is so
stable and the runs are all fairly limited. It's a great place to go to
theatre of all kinds. This week I saw _A Memory of Water_ at Tarragon, a
sisterhood play which covers fairly familiar ground but which was
delivered by a truly wonderful cast doing wonderful work, including
Martha Burns (from Edmonton, I think), Corrine Koslo
(Edmonton/Vancouver) and Nancy Palk (Kingston). (Don't know where the
other three actors are from.) I expect that there are relatively few
places in Canada where you could see a cast of this calibre doing a
newish problematic English play in a theatre seating less than 300. I
also saw a lot of theatre people in the audience who came from somewhere
else too but who are now associated with Toronto: Fiona Reid (Montreal),
Judith Thompson (Kingston), Patricia Hamilton (Saskatchewan) and our
faithful correspondent Guillermo, to name but a few. Toronto attracts
artists from elsewhere. Theatre artists go there to be where a lot of
theatre is being made, more theatre than anywhere else in anglophone
Canada. Toronto-centricity is not just a prejudice, it's also a cultural
force, a fact.

As to the Toronto-centricity of the Globe and Mail, most people who read
it live in Toronto, so naturally they want to know what's going on
there. Most people outside Toronto who read the Globe and Mail do so
partly because they want to know what's going on in Toronto, because
Toronto is an interesting place. The venerable Globe's biases are well
established, and although I agree that the word "National" on the front
page should perhaps be in quotes, I doubt if we should be surprised that
the newspaper caters to the prejudices of its readership (which generate
the prejudices of its advertisers).

As to the National Post, I haven't looked at one yet because I don't
want to give Mr Black any encouragement. Though I suspect that my
minuscule boycott will have no impact whatever on Mr Black's ultimate
success or failure, I will stick to it. But may I say: if anyone out
there anticipated some vigorous new arts coverage from Mr Black's
long-planned personal expression of power ... well, words fail me.

Sincerely,
Denis Johnston

From blajeune at TOTAL.NET  Sat Nov 14 19:46:29 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Sat, 14 Nov 1998 19:46:29 -0500
Subject: National coverage
Message-ID: 

Howard Beye  wrote:

Indeed. But don't get me wrong. I have nothing against Phantom or even
coverage of Phantom. But I am soooooo tired that whenever Colm Wilkinson
farts, we get a national profile of it when there are literally hundreds of
talented Canadians behind Phantom (besides Garth and his woes) that merit a
little of that national spotlight. (God, this sounds a little too much like
Mother and Apple Pie)

> if the Globe and Mail or the
new National Post want to advertise themselves as National Newspapers
then they should shit or get of the pot.<
Well, step one: don't buy them. I don't anymore. I go to the WWW now. Step
two: Tell your friends not to buy nor to advertise in the "National"
dailies. We may not be a huge force, theatre, but we do have some dollars
to spend on such things.

And as for writing them? That's probably the biggest waste of time of all.
Have you ever sent e-mail to one of them? Have you evr gotten an answer?
(Lucky you...)

Gaetan Charlebois
http://www.canadiantheatre.com

From replynow at BITSMART.COM  Sat Nov 14 22:16:53 1998
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From hilhar at VAX2.CONCORDIA.CA  Sun Nov 15 08:04:48 1998
From: hilhar at VAX2.CONCORDIA.CA (HARRY HILL)
Date: Sun, 15 Nov 1998 09:04:48 -0400
Subject: "Coverage"?
In-Reply-To: 
Message-ID: 

        I thought, earlier this year in Toronto, that I would finally
join the Western human race and see *Phantom Of The Opera* in that
beautiful theatre on Yonge Street. Sitting in the front row of the
balcony, I was visited again by that magical sensation of waiting for the
overture to begin and curtain to rise that had been so much a part of
my growing-up in the fifties. However, what I and the assembled multitude
was presented with was a series of totally hack performances from all but
the understudy playing the title role, accompanied by a tinny collection
of instrumentalists playing pseudo-music.

        The essential *thinness* of the experience galled. The infamous
chandelier thrilled only those few in the audience who were determined to
pretend to be frightened by it, the misty underground lake was
too technical to be an aesthetic success, the only slightly memorable song
with its one or two singable phrases was empty of recognizable emotion
was appreciably even worse in melodic and lyric thrust than *Climb Every
Mountain*.

        As a theatrical experience it was better and more gifted than
*Love and Human Remains*, certainly, although philosophically and
dramatically about the same level; it was better than Michel Tremblay's
self-indulgent new play *For the Pleasure of Seeing Her Again* which will
doubtless tour the country in its paucid and paltry English translation,
and better and more honest than Paula Vogel's much-travelled Pulitzer
prizewinner *How I Learned to Drive*.

        The theatre has been through times like these before. Renaissance
audiences flocked to thoughtless revenge plays before Shakespeare shaped
them; 19th.Century crowds palpitatingly patronised the melodramas and
pageants before Ibsen and Checkhov brought household spiritual struggles
to the stage. George F.Walker has with some effect returned the power of
language to the bored boards of the theatre in Canada.

        A public does of course to some extent get the entertainment it
deserves, and if state funding doesn't provide the artistic climate for
good acting in good plays, musical or straight, then we are doomed to the
pretentions of basement productions and the vacuity of expensive
spectacle.

        Harry Hill
        Montreal

From rplant at CHASS.UTORONTO.CA  Sun Nov 15 15:13:31 1998
From: rplant at CHASS.UTORONTO.CA (Richard Plant)
Date: Sun, 15 Nov 1998 15:13:31 -0500
Subject: National coverage
In-Reply-To: 
Message-ID: 

Gaetan:

You have put your finger on a disturbing subject, which seems to me
connected also with the decreasing amount of attention given in Toronto
papers and various magazines to the live stage in any form or anywhere in
our country. Live theatre is becoming a niche market to newspapers,
including even the mega-musicals which are treated as something between
business and star syndrome fodder.

One of the questions I ponder is how much of the decision concerning what
to include in newspaper and magazine coverage is determined by the
audience (at least as revealed in the demographic sourcing of opinion done
by these organizations) or by the print editors leading the blind. Do we
get what is deemed to be what we deserve?

Richard Plant
Dept of Drama, Queen's University
and
Graduate Centre for Study of Drama,
University of Toronto

From rplant at CHASS.UTORONTO.CA  Sun Nov 15 15:18:33 1998
From: rplant at CHASS.UTORONTO.CA (Richard Plant)
Date: Sun, 15 Nov 1998 15:18:33 -0500
Subject: National coverage
In-Reply-To: <3.0.1.32.19981112092841.0072c298@singlelane.com>
Message-ID: 

Hello again All:

I'll just add a note to say that I think Frank Moher's idea of setting up
something which offers a bit closer to nation-wide coverage needs
encouragement. I doubt that hardcopy would prove financially viable (there
have been a few attmepts in my time) but an e-zine might well work.

Richard Plant
Dept of Drama, Queen's University
and
Graduate Centre for Study of Drama,
University of Toronto

From rplant at CHASS.UTORONTO.CA  Sun Nov 15 15:48:08 1998
From: rplant at CHASS.UTORONTO.CA (Richard Plant)
Date: Sun, 15 Nov 1998 15:48:08 -0500
Subject: National coverage i.e Moncton
In-Reply-To: <006c01be0e81$1cdbf5e0$32a1b3cf@sir-dash>
Message-ID: 

And as a person who spends much of his time on the road between "THE
CENTRE" and the "MARGIN" (Kingston is a kind of margin), and who has a
huge interest in what is happening in theatre off his beaten trail, I'd
welcome news of theatre in other places.

In return, i could let you know that a new translation of Malade
Imaginaire, directed and trans by playwright Maurice Breslow, opened in
kingston on Thurs. I see it this week. Craig Walker's "Theatre Kingston"
just did a very solid, intelligent production of
"Aunt Dan and Lemon" and is now in rehearsal for its next offering. Greg
Wanless's Thousand Islands Playhouse just closed its summer season with
"Educating Rita."

But maybe many of you would be interested to know of the reading of "Eight
Men Speak" as a fund-raiser for "This MAgazine" being held at Tarragon
Theatre tomorrow evening. Susan Coyne, Steve Cumyn and other well-known
performers are reading. That's in Toronto, though, so maybe it doesn't
count.

Inexpressible Island at Berkely St is of exceptionally high quality and
would undoubtedly be welcome anywhere, as was the recent production of
"Insomnia."

Richard Plant
Dept of Drama, Queen's University
and
Graduate Centre for Study of Drama,
University of Toronto

On Thu, 12 Nov 1998, Stephen Kincaid wrote:

> So what is happening "theatre wise" in Moncton? I live 45 minutes from
> Moncton and have approximately 10 years theatre experience and would love to
> become involved in discussions about or network with the theatre communities
> of Moncton or New Brunswick.
>
> Stephen
>
> -----Original Message-----
> From: Glen Nichols 
> To: CANDRAMA at LISTSERV.UNB.CA 
> Date: Thursday, November 12, 1998 2:19 PM
> Subject: Re: National coverage
>
>
> So let's hear about that the "kick-ass work" in St.John's, or
> Kamloops or Lethbridge, or (heaven forfend!) Moncton!
>
> Just my two-cents worth
> Glen
>

From rplant at CHASS.UTORONTO.CA  Sun Nov 15 15:55:37 1998
From: rplant at CHASS.UTORONTO.CA (Richard Plant)
Date: Sun, 15 Nov 1998 15:55:37 -0500
Subject: stars function as points of light
In-Reply-To: <364BB390.B1D519A7@ULETH.CA>
Message-ID: 

Hello Howard:

I found it difficult to hear exactly what it was you wanted to say. I
think it was all the static. Maybe you could try again and say something
substantial. That way the static wouldn't overwhelm your communication.

Richard Plant
Dept of Drama, Queen's University
and
Graduate Centre for Study of Drama,
University of Toronto

From rplant at CHASS.UTORONTO.CA  Sun Nov 15 15:59:45 1998
From: rplant at CHASS.UTORONTO.CA (Richard Plant)
Date: Sun, 15 Nov 1998 15:59:45 -0500
Subject: National coverage
In-Reply-To: <199811131530.KAA56468@courrier.usherb.ca>
Message-ID: 

Hi Greg:

That tale's a gem. Thanks for sharing it.

Richard Plant
Dept of Drama, Queen's University
and
Graduate Centre for Study of Drama,
University of Toronto

From rixax at VEX.NET  Sun Nov 15 20:24:29 1998
From: rixax at VEX.NET (Rick Sacks - Percussionist)
Date: Sun, 15 Nov 1998 20:24:29 -0500
Subject: "Coverage"?
In-Reply-To: 
Message-ID: 

I sat in the pit to sub for Phantom. I never saw a more depressed and
numbed group of musicians (except for the ones who were physically
revolted every time they stepped back in there. 6 years! The Union should
have a law! Anyway that was terrible enough and I didn't take the gig.
(The new percussionist I was going in for informed me he would be subbing
out very little so I declined the pressure of having to work up the part
once evry 3 or 4 months for 1 service and thank the lord))

All this was before they laid off 75% of the orchestra and brought in the
touring band. Just another Kentucky Fried Mac in the Box that so many
love.

Rick Sacks
proprietor of Rik's Cafe Canadian at:
http://www.vex.net/rikscafe

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From dperkins at GPU.SRV.UALBERTA.CA  Sun Nov 15 22:47:47 1998
From: dperkins at GPU.SRV.UALBERTA.CA (Don Perkins)
Date: Sun, 15 Nov 1998 20:47:47 -0700
Subject: National Coverage
In-Reply-To: <199811132015_MC2-6031-D712@compuserve.com>
Message-ID: 

Guillermo's thoughts are correct for any mass-market publication, of course,
as well as for "focused" journals, etc.  So maybe we need ignore the
propaganda implicit in the claim/name of the "National" Post, or the
advertisaing of Canada's "national" newspaper.  We need rather to be
vigilant that any theatre publication with national ambitions have national
scope--and I can recall arguments about Theatrum (in its time) not being
"national" in coverage.  The editor claimed it was "so hard" to find out
what was happening "out west."  Of course, the NeWest Review had published a
list of shows upcoming in cities from Wiinipeg west for years at that time.
 It still publishes such a list, but is not able to keep up with the full
array of large and small theatres in large and small western (read prairie)
centres. Unfortunately, the NR no longer publishes regular reviews of new
shows in the west (it long ago passed up on reviews of shows imported from
the Rest of Canada--which means something different here in Alberta),
preferring more general feature stories and season wrap-ups.

Don Perkins
Research Associate
Edmonton Professional Theatre Project

P.S.--didn't you just love the national coverage of Joe Shoctor winning the
Ray Hnatyshyn Award for Volunteerism in the latest Governor General's Awards
for the Performing Arts.  I realize Shoctor is blamed for a lot, as well as
praised for a little, but surely an award of this scope, for his work in
building and maintaining major theatre complex merited a feature or two
somewhere?

On Fri, 13
Nov 1998, Guillermo Verdecchia wrote:

> Date: Fri, 13 Nov 1998 20:14:50 -0500
> From: Guillermo Verdecchia 
> To: CANDRAMA at hermes.csd.unb.ca
> Subject: National Coverage
>
> I think the people at the Post and G&M will tell you -- the former
> publisher of the Globe said so a few years ago -- that their job is to
> deliver an audience ( a readership) to advertisers. Their job is not to
> cover the "news",  afflict the comfortable or comfort the afflicted, least
> of all is it to provide arts criticism. No, their job is to sell
> advertising.
>
> Gaetan's experience appears to demonstrate that there was a time when
> newspapers had other goals or philosophies. In these lean and mean times,
> newspapers can no longer afford such altruism.
>
> GLV
>
> >  It was the
> > job of the Post and the G&M to make up for that loss of funding and to
> draw
> > attention to that production and everytime we spend our 60 cents to buy
>

From blajeune at TOTAL.NET  Mon Nov 16 02:09:55 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Mon, 16 Nov 1998 02:09:55 -0500
Subject: Nov 16-Encyclopedia News
Message-ID: 

Hello All

The traffic is increasing at a mad rate and is not only coming from all
over the country but from over a dozen others as well including Korea,
Israel, Taiwan, Australia, Sweden, Spain and the UK. The e-mail shows that
people outside of this country want to know about this country's theatre. A
critic in Lisbon asked me for more information, for instance, on Krizanc's
Tamara (which is being staged there). I am glowing with the reaction and
everyone who has helped me can take credit for any success the site has.

New Feature:
After another heated discussion - on the lack of national coverage of
regional theatre (particularly by the Globe and Mail and the new National
Post) - and after Frank Moher put a flea in my ear about how the Internet
could solve this problem, I launched a new feature of the site called
"Heavenly Voices" where ANYONE could post theatre news from their regions.
It'll at least get the noise heard to some small extent and will be an
interesting place to visit. But here's interesting (related) news:
according to my site statistics provider, one of the visitors to the site
came from a very interesting domain: nationalpost.com. Let's shout. (Maybe
we'll scare them a little.)

New Profiles:
Moodie, Andrew (Actor/Playwright)
Papineau, Francois (Actor)
Clark, Patrick (Designer)
Stanley Theatre du Maurier Stage (Venue)
Dean, Charlotte (Costume Designer)

Updates:
Fleury, K.; Soiree des Masques; Motel Helene; Sources; Archambault, F.;
Tepperman, S.; Barbeau, J.; Bienvenue, Y.; Blais, MC; "L'Execution";
"Homeward Bound";  Hewgill, R. (death); Pickford, M.; Laxdal, V; "Karla and
Grif"; Bravos and Boos; Gay and Lesbian Theatre ; Arts Club Theatre;
Vancouver Playhouse; Designing; Moher, F.; Shaw Festival

Cheers.

Gaetan L. Charlebois (editor)
http://www.canadiantheatre.com

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From rumble at DIRECT.CA  Wed Nov 18 12:22:38 1998
From: rumble at DIRECT.CA (Norman Armour)
Date: Wed, 18 Nov 1998 09:22:38 -0800
Subject: Maybe not national...
Message-ID: 

Hello All,

While generating a lot of debate on the purpose and necessity of national
coverage, this discussion seems to agree on the fact that regional
representation cannot be left up to the "national" papers.  Guillermo is
right, those papers must "deliver an audience to their advertisers". Their
audience and our audience (ie, the theatre going public in each region) are
not necessarily the same anyway.

Stuart Scadron-Wattles suggests "looking to the specialty pubs to develop
local reporting" and Richard Plant and Frank Moher both suggest using the
internet to collect reviews and news from different regional theatre
communities.

Personally, I'm not ready to provide that service. But professionally, I am
ready to let you know what Rumble Productions is up to. Especially in
regards to providing profile for artists' work and perspecitives.

We publish a 'zine called "transmissions" about theatre, art and ideas
twice a year. It is intended as an opportunity to reach out to our members
and potential audience as well as to profile artists from the community.

In the past, we have had contributions from Aiyyana Maracle (1997 John
Hirsch Prizewinner), William Yang (Australian Photographer, creator and
performer of "Sadness" and "The North"), The Electric Company (just prior
to the production of their successful work "Brilliant!") as well as
transmedia artists Judy Radul (visual/performance artist and writer), Alex
Ferguson (AWOL Lovevibe) and Lizard Jones (Kiss and Tell Collective). Our
most recent issue has focused on the experience of emerging artists
(writers, performers, directors, musicians, dancers, etc.) in Vancouver.

"transmissions", up to this point, has been admittedly, and intentionally,
Vancouvercentric. We would like to develop our content to include artists
from different regions whose practice or vision are relevant in some way to
what we see (or wish to see) happening in Vancouver. So, while we slowly
expand the geographic circle of artists with whom we share a vision, we
offer access to our publication to those who are interested in an inside
perspective of the Vancouver arts community. We also welcome your letters
and email, and will probably write you back, something that can't be
guaranteed by the "national" press.

"transmissions" is part of our membership package. Buying a membership is
$5.00 and will provide two issues of "transmissions" mailed to you. If you
are interested in receiving it, please print out the membership form on our
website, www.rumble.org, or send us your name, address, phone number,
email, etc. with $5.00 to:

PO Box 544, Bentall Centre
Vancouver BC   V5C 4J5

I realize that "transmissions" is a small drop in the bucket as far as
national coverage goes, but I also believe that it holds potential as a
active way to stimulate dialogue about art practice across the country. I'd
like to invite you to help us to get there.

Adrienne Wong
transmissions at rumble.org

---------------------
Check out our website for upcoming events information and company background.
www.rumble.org

Norman Armour                  Artistic Producer

narmour at rumble.org

Chris Gerrard-Pinker    Artistic Associate
cgp at rumble.org

Adrienne Wong                  Administrative/Dramaturgical Assistant
awong at rumble.org

Ruth McIntosh                    Outreach Coordinator
rmcintosh at rumble.org

Brent Gibson                         CD Distribution
info at rumble.org

Linda Gorrie                         Business Manager
info at rumble.org

Laine Slater                           Publicist
info at rumble.org

Rumble Productions
PO Box 544, Bentall Ctre, Vancouver, BC   Canada  V6C 2N3
voice: 604.662.3395      fax: 604.662.4595

From gailc at TWU.CA  Wed Nov 18 13:44:39 1998
From: gailc at TWU.CA (Gail Campbell)
Date: Wed, 18 Nov 1998 10:44:39 -0800
Subject: Student fees to support productions
Message-ID: 

Dear Folks - Input needed!
I teach at a small liberal arts university in B.C. The department has 2
full-time and up to 3 sessionals at any given time and a season of 2 or
3 mainstage productions per year. The adminstration believes that since
a revenue is generated from productions, no university money need be
allocated to the production program. We're looking for other sources of
income. The students here pay a student council/activity fee which is
used for a number of activities on campus such as a student newspaper
and the weight room at the gym; none of this money comes to the
university theatre to help offset ticket prices for students. It seems
reasonable to me that supporting the arts would be a good use of the
money, so these are my questions:
1. Do any of your theatre departments receive money from student
activity fees or student council?
2. If so, is it a set amount, a variable amount dependent on enrollment
or is it re-negotiated each year? How much does it affect your ticket
costs?
3. Do you give discounted student tickets, and if so is that loss of
income offset by any other income?

I'm hoping we can establish a precedent for student council to follow;
many thanks for your help.

Gail Campbell
gailc at twu.ca

From rknowles at UOGUELPH.CA  Thu Nov 19 09:43:07 1998
From: rknowles at UOGUELPH.CA (Ric Knowles)
Date: Thu, 19 Nov 1998 09:43:07 -0500
Subject: Student fees to support productions
In-Reply-To: <36531593.72F2@twu.ca>
Message-ID: 

Hi Gail,

I find the prospect of drawing on student council activity funds
dangerous: it relegates academic Drama programs to the level of
extracurricular activities--drama clubs--, which is where many
administrators and others see us anyway. I think it's important to fight
this. (I think the argument about "supporting the arts" is dangerous too:
use that one for asking the Student Councils to support visiting
productions, but not for supporting academic programs--do they give money
to "supporting the sciences"?). I suggest that you get the support of such
places as COUCTP (the Council of Ontario University and College Theatre
Programs) and the Professional Concerns Committee of the Association for
Canadian Theatre Research for help in arguing with your admistration
about this one. The former is chaired by Stephen Johnson at UofT (Erindale
and Drama Centre), the latter by Denis Salter (McGill). Both organizations
exist in part to support people in positions such as yours, and can give
information about how things are done elsewhere. It's important to all of
us that we resist setting the precedent of caving in to administrative
failures or refusals to understand that theatres and theatrical
productions are the laboratories of drama/theatre programs, as essential
to teaching and research in our field as scientific labs are to those on
"the other side of the campus."

I hope this helps, and best of luck in the meantime.

Cheers,

Ric

On Wed, 18 Nov 1998, Gail Campbell wrote:

> Dear Folks - Input needed!
> I teach at a small liberal arts university in B.C. The department has 2
> full-time and up to 3 sessionals at any given time and a season of 2 or
> 3 mainstage productions per year. The adminstration believes that since
> a revenue is generated from productions, no university money need be
> allocated to the production program. We're looking for other sources of
> income. The students here pay a student council/activity fee which is
> used for a number of activities on campus such as a student newspaper
> and the weight room at the gym; none of this money comes to the
> university theatre to help offset ticket prices for students. It seems
> reasonable to me that supporting the arts would be a good use of the
> money, so these are my questions:
> 1. Do any of your theatre departments receive money from student
> activity fees or student council?
> 2. If so, is it a set amount, a variable amount dependent on enrollment
> or is it re-negotiated each year? How much does it affect your ticket
> costs?
> 3. Do you give discounted student tickets, and if so is that loss of
> income offset by any other income?
>
> I'm hoping we can establish a precedent for student council to follow;
> many thanks for your help.
>
> Gail Campbell
> gailc at twu.ca
>

From dlemac at IS2.DAL.CA  Thu Nov 19 21:01:38 1998
From: dlemac at IS2.DAL.CA (Laura MacDonald)
Date: Thu, 19 Nov 1998 22:01:38 -0400
Subject: Maybe not national...
In-Reply-To: 
Message-ID: 

Since Norman Armour plugged his publication, I'll plug mine.  In 2 Print
is a national arts magazine that comes out four times a year.  The
contributors are all young Canadians and that is the magazine's audience,
but it has been well received by readers of all ages.  Along with original
works of art, poetry, prose and photography, In 2 Print publishes reviews,
editorials and interviews.  Past issues have included stories on scenic
designer Leslie Frankish, playwright/MP Wendy Lill, poet Bill Bissett and
cartoonist Lynn Johnston to name a few.  Many contributors are from
Ontario, but the magazine's content is definitely national.  It's a
terrific alternative to most teen magazines, and it's more national than
most other Canadian arts publications I've seen.  Call 1-888-215-5142 for
subscription info.

Laura MacDonald

IN 2 PRINT Reporter

From GLV at COMPUSERVE.COM  Fri Nov 20 12:28:37 1998
From: GLV at COMPUSERVE.COM (Guillermo Verdecchia)
Date: Fri, 20 Nov 1998 12:28:37 -0500
Subject: PUC: Forwarded FYI
Message-ID: 

Apologies for cross-postings

Forwarded from the Saskatchewan Writers Guild Mailing List:

------------------------------------------------
+++ please distribute via email and list-serv +++

TERLA-chaptersglobe.com UPDATE, November 19, 1998
By Robert Labossiere, Executive Director, TERLA
For further information contact rlabossiere at interlog.com

The use of the full text of book reviews first published on print on the
World Wide Web requires the specific authorization of the writer.
Publication of the work electronically without such authorization
constitutes copyright infringement.

For some months now, the Globe and Mail has been pressuring freelancers to
sign a standard form agreement that gives the Globe unlimited rights to use
the work electronically. Where a freelancer has not signed such an
agreement, the Globe has stooped to stamping the payment cheque stub with
words to the effect that they are purchasing all print and electronic
rights. Such stamps are legally unenforceable. The Globe would not be
resorting to such tactics if copyright were not at issue, if they did not
require specific authorization in writing.

The Globe is also exploiting authors works on its own database InfoGlobe
and more recently in a joint venture database with Dow Jones Interactive.
Staggering amounts of money are being invested in electronic projects that
are generating revenues yet authors are receiving nothing.

I met with Chapters V.P. David Hainline on November 9, 1998. He expressed a
desire to see the matter resolved but did not suggest how that might
happen.
He did not admit liability but took the matter back with a promise to get
back to me shortly. We have been playing telephone tag yesterday and today.

The chaptersglobe.com issue is particularly aggravating because the website
project has many corporate and public sponsors, including Canada Council.

A class action lawsuit was launched in 1996 against the Globe for
unauthorized electronic use of authors works. Proceedings commence in
January. If you have published in the Globe on a freelance basis and have
not yet joined the class action, please contact Heather Robertson.

The Globe was notified of the chaptersglobe.com copyright problem by TERLA
and responded with a very curt letter that they have the right to use
electronically everything that appears in print. Notwithstanding that
letter, Lib Gibson, Manager of Globe Information Services, recently called
and requested a meeting.

I will report again following this next round of discussions.

---
Robert Labossiere, Executive Director
TERLA - The Electronic Rights Licensing Agency /
La Societe de reconnaissance de droits electroniques
6 Adelaide Street East, Suite 900
Toronto, Ontario CANADA M5C 1H6
Telephone: (416) 868-0200
Toll Free: 1-877-557-4616
Fax: (416) 868-0296
E-mail: rlabossiere at interlog.com

________________________
Greg Nelson
gnelson at canada.com
http://www.puc.ca/gnelson

---------------------------------------------------------------------------
Playwrights Union of Canada: http://www.puc.ca -- cdplays at interlog.com
---------------------------------------------------------------------------
To unsubscribe from this list, send mail to 'majordomo at lights.com' with
'unsubscribe puc-list' in the body of the message.

========================== End Part 2 =============================

From rplant at CHASS.UTORONTO.CA  Fri Nov 20 15:08:21 1998
From: rplant at CHASS.UTORONTO.CA (Richard Plant)
Date: Fri, 20 Nov 1998 15:08:21 -0500
Subject: Student fees to support productions
In-Reply-To: 
Message-ID: 

Hello Gail Campbell:

I'll use Ric Knowles' message as a launxch for my own to you.

I agree wholly with Ric's advice.

If you turn the administration's principle around, you might stop charging
for your productions on the basis that you stage a performance
for educational purposes. It is part of your educational programme. In
that case, it needs subsidy from the university funding. (I am wholly
aware of the response this would generate. But it does provide a little
perspective. I'll bet you could find university subsidies in various
areas which offer a model for argument. Without wanting to stir up a
divisive comparison, I'll bet there are science or computer lab programmes
which have university funding.

Richard Plant
Dept of Drama, Queen's University and Graduate Centre for Study of Drama,
University of Toronto

From FORSYTHE at BRANDONU.CA  Fri Nov 20 16:13:20 1998
From: FORSYTHE at BRANDONU.CA (James Forsythe)
Date: Fri, 20 Nov 1998 15:13:20 -0600
Subject: Student fees to support productions
Message-ID: 

Richard:  I appreciate your point of view.  However, please be aware that
these days it is not just theatre that can make such a claim on student fees
or administration funding.  Here at Brandon University the production
budgets of my shows are 100% funded from the box office.  But then I have to
remember that the basketball team is constantly doing things to raise money,
that the already cash strappped students pay extra for both lab courses in
science and studio courses in the school of music.  I could apply to the
student union for $500.00 if I ran my program like a Drama Club which isn't
really practical.

Working this way demands that my cast and crew are fully aware of the sense
that we are a creative community taking a risk and are not safe in some
ivory tower cocoon.  We as a Theatre Program are not getting any special
favors.  But we do have a space to rehearse and perform.  And perhaps most
important in a small school that has had its share of cutbacks we are still
here.  And I for one am glad of that. We choose our own plays and musicals.
We answer to no one but our audience.

Threats and stunts won't work here.  I can't afford to piss anybody off
because we need there ten bucks for a ticket in February.

Yours, Jim Forsythe

From blajeune at TOTAL.NET  Sat Nov 21 03:11:09 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Sat, 21 Nov 1998 03:11:09 -0500
Subject: Heavenly Voices/Encyclopedia
Message-ID: 

Hello all

The Heavenly Voices section of The Encyclopedia of Canadian Theatre on the
WWW (http://www.canadiantheatre.com) has had most of the bugs worked out of
it and is now up and running.

Just to remind you, this was in response to our discussions about the lack
of national coverage of regional theatre. As of now you can post anything
that resembles news from your area (casting calls, new productions, etc) by
following the guidelines that are listed. It takes two days (max.) to get
the news onto the page. The traffic statistics for this particular feature
of The Encyclopedia are already pretty good. So if you have news, send it
on.

Cheers.

Gaetan Charlebois (editor, The Encyclopedia of Canadian Theatre on the WWW)

From blajeune at TOTAL.NET  Sat Nov 21 19:43:27 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Sat, 21 Nov 1998 19:43:27 -0500
Subject: Info on Cantonese Opera article
Message-ID: 

Hello all:

Can anyone in this group help this young person? S/he can be reached
directly at: KMAJKim at aol.com.

>I ama middle school student at anderson Middle School in Berkley, Michigan.  I
>am writing a paper on Canadian Theatre.
>I need the page numbers for an article from the magazine Theatre Research in
>Canada, Volume 17, Spring, 1996, titled "Cantonese Opera In Its Canadian
>Context: The Contemporary Vitality of An Old Tradition"; I would really
>appreciate your help.
>  Thank you very much

Gaetan Charlebois

From blajeune at TOTAL.NET  Sun Nov 22 02:23:58 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Sun, 22 Nov 1998 02:23:58 -0500
Subject: Women in View
Message-ID: 

Hello all

I'm trying to find information about the Women in View festival but have
had no luck with the organizers (they ignore e- and surface mail and don't
answer their phone).

Like, when was it founded? I have heard they're running again this year
from people who are supposed to be participating in it, but I've never seen
such poor PR in my life. (Except from the 20 jours de theatre a risque, a
fringe-style festival here in Montreal that is quite busy going under...)

Can anyone pass on the information, if there is any? I've been to their web
site (linked from altavista) but apparently it's now dead.

Cheers.

Gaetan

From ladythea at JUNO.COM  Sun Nov 22 11:06:31 1998
From: ladythea at JUNO.COM (Rachael Greenberg)
Date: Sun, 22 Nov 1998 11:06:31 EST
Subject: Student fees to support productions
Message-ID: 

In reading this thread, several things come to mind.
1st:  Many student unions have very specific requirements
for student clubs.  Do you really want your **productions**
to be decided/influenced/changed because of these rules?
2nd:   Is it going to be enough money to support what you do?
Usually the amount per student group is **small** and it also
changes from year to year....
3rd:  Most universities give some sort of student discounts on
tickets.  This is a way to acknowledge the fact that students already
pay fees, and should not have to pay heavily to enjoy related
activities.

If you have a drama club, it should be an **extracurricular** group.
When in college, we used the money from the drama club to help
bring a lecture by an acting coach and an agent to the campus.
We opened it to the campus community and it was a great success.
But the department could not afford to do that, so it was good to have
the club's money available.

-Thea

On Thu, 19 Nov 1998 09:43:07 -0500 Ric Knowles 
writes: [snipped heavily]

>Hi Gail,
>
>I find the prospect of drawing on student council activity funds
>dangerous: it relegates academic Drama programs to the level of
>extracurricular activities--drama clubs--, which is where many
>administrators and others see us anyway. I think it's important to
>fight
>this. (I think the argument about "supporting the arts" is dangerous
>too:
>use that one for asking the Student Councils to support visiting
>productions, but not for supporting academic programs--do they give
>money
>to "supporting the sciences"?)

___________________________________________________________________
You don't need to buy Internet access to use free Internet e-mail.
Get completely free e-mail from Juno at http://www.juno.com/getjuno.html
or call Juno at (800) 654-JUNO [654-5866]

From rplant at CHASS.UTORONTO.CA  Mon Nov 23 08:25:47 1998
From: rplant at CHASS.UTORONTO.CA (Richard Plant)
Date: Mon, 23 Nov 1998 08:25:47 -0500
Subject: Student fees to support productions
In-Reply-To: <1.5.4.16.19981120151319.268f2f88@mail.BrandonU.CA>
Message-ID: 

Hello Jim:

Thanks for the details. I've a couple of queries, which are serious, so
don't misread my choice of titles?

Does the university let you keep all the box office money? That is, if you
were to make a pot full staging, say, "Anne of Brandon's Green Gables" or
"Phantom of Brandon's Grand Opera" would those revenues remain in your
operating fund?

Are you charged by, say, physical plant for your square footage or space?

Richard Plant
Dept of Drama, Queen's University
and
Graduate Centre for Study of Drama,
University of Toronto

On Fri, 20 Nov 1998, James Forsythe wrote:

> Richard:  I appreciate your point of view.  However, please be aware that
> these days it is not just theatre that can make such a claim on student fees
> or administration funding.  Here at Brandon University the production
> budgets of my shows are 100% funded from the box office.  But then I have to
> remember that the basketball team is constantly doing things to raise money,
> that the already cash strappped students pay extra for both lab courses in
> science and studio courses in the school of music.  I could apply to the
> student union for $500.00 if I ran my program like a Drama Club which isn't
> really practical.
>
> Working this way demands that my cast and crew are fully aware of the sense
> that we are a creative community taking a risk and are not safe in some
> ivory tower cocoon.  We as a Theatre Program are not getting any special
> favors.  But we do have a space to rehearse and perform.  And perhaps most
> important in a small school that has had its share of cutbacks we are still
> here.  And I for one am glad of that. We choose our own plays and musicals.
> We answer to no one but our audience.
>
> Threats and stunts won't work here.  I can't afford to piss anybody off
> because we need there ten bucks for a ticket in February.
>
> Yours, Jim Forsythe
>

From rknowles at UOGUELPH.CA  Mon Nov 23 10:50:52 1998
From: rknowles at UOGUELPH.CA (Ric Knowles)
Date: Mon, 23 Nov 1998 10:50:52 -0500
Subject: Info on Cantonese Opera article
In-Reply-To: 
Message-ID: 

I have trouble understanding why a student needs the page numbers for an
article, unless s/he is attempting to pad a bibliography with work s/he
hasn't seen. I'd rather not help on that enterprise.

Ric

On Sat, 21 Nov 1998, Gaetan Charlebois wrote:

> Hello all:
>
> Can anyone in this group help this young person? S/he can be reached
> directly at: KMAJKim at aol.com.
>
> >I ama middle school student at anderson Middle School in Berkley, Michigan.  I
> >am writing a paper on Canadian Theatre.
> >I need the page numbers for an article from the magazine Theatre Research in
> >Canada, Volume 17, Spring, 1996, titled "Cantonese Opera In Its Canadian
> >Context: The Contemporary Vitality of An Old Tradition"; I would really
> >appreciate your help.
> >  Thank you very much
>
> Gaetan Charlebois
>

From blajeune at TOTAL.NET  Mon Nov 23 18:43:10 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Mon, 23 Nov 1998 18:43:10 -0500
Subject: Info on Cantonese Opera article
Message-ID: 

>
>I have trouble understanding why a student needs the page numbers for an
>article, unless s/he is attempting to pad a bibliography with work s/he
>hasn't seen. I'd rather not help on that enterprise.
>
>Ric
>
>On Sat, 21 Nov 1998, Gaetan Charlebois wrote:
>
>> Hello all:
>>
>> Can anyone in this group help this young person? S/he can be reached
>> directly at: KMAJKim at aol.com.
>>
>> >I ama middle school student at anderson Middle School in Berkley,
>>Michigan.  I
>> >am writing a paper on Canadian Theatre.
>> >I need the page numbers for an article from the magazine Theatre
>>Research in
>> >Canada, Volume 17, Spring, 1996, titled "Cantonese Opera In Its Canadian
>> >Context: The Contemporary Vitality of An Old Tradition"; I would really
>> >appreciate your help.
>> >  Thank you very much
>>
>> Gaetan Charlebois

>From everything I can tell in a continued correspondance with this young
woman, she does her homework. I think she found the article somewhere on
the net and didn't have the complete picture. But you may be right.

Gaetan

From blajeune at TOTAL.NET  Mon Nov 23 18:57:14 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Mon, 23 Nov 1998 18:57:14 -0500
Subject: Encyclopedia news
Message-ID: 

Hello All

Fairly quiet week this week, with lots of aspects of the Encyclopedia going
off in all directions and me trying to maintain some balance here in the
middle. Don't forget the Heavenly Voices section for announcing your news;
the traffic is growing like crazy on that particular feature.

For your enjoyment, I am including a "Letter of the Week":

"I would like to receive information about this story, (Komagata Maru
Incident) I heard it was excellant except I haven't found it anywhere in
schools or at public
libraries. This is why I decided to have a little search on the net. Can you
send me complete information about setting and themes and what happens in
the story? Like a full book report type of thing just so I know what goes
on. I don't really like to read stories except for when they are in 'book
report' style. If you can do that, it would be great. I would like an answer
as soon as possible so I can stop my search on the net and other various
places."

New Profiles:
Shakespeare by the Sea (Company)
Mulgrave Road Theatre (Company)
Rose, Richard (Director)
The Blackmore Brothers (set-builders)
"Riot" (Play, Andrew Moodie)

Updates:
Nova Scotia; Shakespeare; Ondaatje, M.; Davies, R.; Laxdal, V.; Young, D.;
Findley, T.; Hayes, E.; "Eddy/In The Ring"; Dalpe, JM; Krizanc, J;
"Prague"; "The Collected Works of Billy The Kid"; Hill, H.; Neptune
Theatre; Moodie, A.; Coleman, L.; Factory Theatre; Dale, C.; Beaulne, M.;
Theatre Populaire d'Acadie; Theatre de la Vieille 17; Sources; Black
Theatre Workshop; Archambault, F.; Theatre Petit a Petit (becomes PaP);
Festivals; Vingt jours de theatre a risque

Cheers.

Gaetan Charlebois (Editor, Encyclopedia of Canadian Theatre on the WWW)
http://www.canadiantheatre.com

From kchung at CHASS.UTORONTO.CA  Tue Nov 24 00:24:19 1998
From: kchung at CHASS.UTORONTO.CA (Kathy Chung)
Date: Tue, 24 Nov 1998 01:24:19 -0400
Subject: 1998 GG Award winners announced
Message-ID: 

Hello,

In case anyone is interested in knowing the Gov Gen Award winners in drama...

--- Kathy.

>Delivered-To: canadianist-list at synapse.net
>X-Sender: martinp at pop.srv.ualberta.ca
>Date: Tue, 17 Nov 1998 11:46:16 -0700
>To: CANLIT-L at INFOSERV.NLC-BNC.CA, canadianist-list at synapse.net
>From: Paul Martin 
>Subject: 1998 GG Award winners announced
>Sender: canadianist-list-owner at synapse.net
>X-MIME-Autoconverted: from quoted-printable to 8bit by
artemis.chass.utoronto.ca id NAA24647
>X-Status: 
>
>Hi everyone,
>    The winners of the GG were announced this morning in Ottawa.  Here's a
>complete list of winners (there are a few surprises here, to me anyway!).
>More info, including the jury's comments on each title, can be found at our
>Northwest Passages web site (http://www.nwpassages.com/canlit/awards.htm).
>Additional coverage can be found at CBC's great Infoculture web site
>(http://www.infoculture.cbc.ca) and at the Canada Council site
>(http://www.canadacouncil.ca).  I should also note that we'll continue to
>offer a 15% discount on all of the winning titles until December 24th.
>
>
>
>Fiction:

>Diane Schoemperlen, Kingston, Ontario, for Forms of Devotion
>Christiane Frenette, Lévis, Quebec, for La Terre ferme
>
>
>Poetry:
>
>Stephanie Bolster, Ottawa, for White Stone: The Alice Poems
>Suzanne Jacob, Outremont, Quebec, for La Part de feu preceded by Le Deuil
>de la rancune
>
>
>Drama:
>
>Djanet Sears, Toronto, for Harlem Duet
>François Archambault, Montreal, for 15 secondes
>
>
>Non-fiction
>
>David Adams Richards, Toronto, for Lines on the Water - A Fisherman's Life
>    on the Miramichi
>Pierre Nepveu, Montreal, for Intérieurs du Nouveau Monde: Essais sur les
>littératures du Québec et des Amériques
>
>
>Translation (French to English):
>
>Sheila Fischman, Montreal, for Bambi and Me
>
>Translation (English to French):
>
>Charlotte Melançon, Montreal, for Les Sources du moi - La Formation de
>l'identité moderne
>(French version of Sources of the Self: The Making of the Modern Identity
>by Charles Taylor)
>
>
>Children's literature - text
>
>Janet Lunn, Hillier, Ontario, for The Hollow Tree
>
>Angèle Delaunois, Montreal, for Variations sur un même 't'aime'
>
>
>Children's literature - illustration
>
>Kady MacDonald Denton, Brandon, Manitoba, for A Child's Treasury of Nursery
>Rhymes
>
>Pierre Pratt, Montreal, for Monsieur Ilétaitunefois,
>
>--------------------------------------------------------------------------
>Paul Martin, PhD candidate
>Department of Comparative Literature, Religion, and Film/Media Studies
>University of Alberta
>Edmonton, Alberta T6G 2E6
>CANADA
>Paul.Martin at ualberta.ca
>
>THIS MONTH AT NORTHWEST PASSAGES (http://www.nwpassages.com/canlit): Our
>feautre author is Evelyn Lau and our feature title is The Colony of
>Unrequited Dreams by Wayne Johnston.  Make sure also to check out our
>awards page to see who won the Giller Prize and who the nominees are for
>the 1998 Governor General's Awards.

From ajarvis at IS2.DAL.CA  Tue Nov 24 00:18:52 1998
From: ajarvis at IS2.DAL.CA (Alastair M. Wallis Jarvis)
Date: Tue, 24 Nov 1998 01:18:52 -0400
Subject: Wonderful production in Halifax
Message-ID: 

I saw a show tonight that I want to let you folks know about. I found it
very moving and recommend it highly.

Number Eleven Theatre is a company who have been working in Granville
Ferry and Halifax, Nova Scotia, developing a show that has been titled
_Icaria_. The members have come from across Canada and are led by Ker
Wells, a founding member of Primus Theatre of Winnipeg, and whose
work some of you may know (You can check out the entry for Primus in the
online Encyclopedia). The group have been training together and developing
their material over a period that spans back a year now and this evening
was their first public preview.

For those of you who are within travelling distance I recommend the trip.
Their work is reminiscent of Primus's work in many ways, but it is also
evident that a new director with different sensitivities is at work. The
only Primus show I saw was _The Night Room_ and in many ways, I enjoyed
this show more.

I would describe it as a rich tapestry of simultaneity and textures, that
somehow contains within it a seemingly paradoxical meeting of ambiguity
and clarity (I must admit that I was and remain largely unable to
articulate my feelings and observations after the show... I do however
want to let people know about it).

This work is placed at the end of the genealogy: Grotowski, Barba, Fowler
(Primus), Wells (Number Eleven). It is also reminiscent of Tadeuz Kantor,
though more accessible, in my opinion. Neptune, this is not. Nevertheless
I think it will prove satisfying to all who share in the experience,
invaluable to those who are keenly interested in the current state of the
Canadian avant-guard.

The remaining performances are:

Tuesday Nov. 24th 8:00pm PWYC

Wed. Nov 25th 8pm
Thurs Nov 26th 8pm
Fri Nov 27th 8pm
Sat Nov 28th 2pm and 8pm
Sun Nov 29th 2pm and 8pm
$10.00

The seating is limited (~40) and it is my suspicion that tickets will be
difficult to come by.

Their listing in the local weekly reads: "Number Eleven Theatre boasts its
premier performance Icaria, the eulogic and highly physical story of
Thomas" Call (902) 423-3893 for ticket information.

Anybody interested in further impressions about the show, feel free to
e-mail me and I may be able to put something more coherent together once
the experience settles down a bit (!).

Best,
Alastair Jarvis

From nicholsg at UMONCTON.CA  Tue Nov 24 07:09:04 1998
From: nicholsg at UMONCTON.CA (Glen Nichols)
Date: Tue, 24 Nov 1998 08:09:04 -0400
Subject: Wonderful production in Halifax
Message-ID: 

Alistair
Thanks for letting everyone know of "Icaria".... sounds really 
interesting and worth seeing.
Let's hear more of this sort of review here...
Glen

From deborah.tihanyi at UTORONTO.CA  Tue Nov 24 09:55:19 1998
From: deborah.tihanyi at UTORONTO.CA (Deborah Tihanyi)
Date: Tue, 24 Nov 1998 09:55:19 EST
Subject: Info on Cantonese Opera article
Message-ID: 

In response to Ric's recent message:

I'm sorry that Ric felt the need to jump to the conclusion that the
student was attempting to "pad" a bibliography.  As a Managing Editor
of TRIC/RTAC, I know that the article by Elizabeth L. Johnson on
Cantonese Opera was one of three articles (including one by Ric and
Jennifer Harvie) on the old TRIC web site (a site that is still
accessible on the web, even though it has been replaced by a much more
elaborate one in the past year).  There are no page numbers given for
the articles on that site, only the issue number and date.  Granted,
TRIC/RTAC is available in many libraries (even in the US), but perhaps
none to which this student has access.  Rather than condemning
him/her, perhaps we should be heartened to know that she cares to be
thorough enough in her research to credit a work fully.

Just a thought.

Deborah

On Mon, 23 Nov 1998 10:50:52 -0500 Ric Knowles wrote:

> From: Ric Knowles 
> Date: Mon, 23 Nov 1998 10:50:52 -0500
> Subject: Re: Info on Cantonese Opera article
> To: CANDRAMA at hermes.csd.unb.ca
>
> I have trouble understanding why a student needs the page numbers
for an
> article, unless s/he is attempting to pad a bibliography with work
s/he
> hasn't seen. I'd rather not help on that enterprise.
>
> Ric
>
> On Sat, 21 Nov 1998, Gaetan Charlebois wrote:
>
> > Hello all:
> >
> > Can anyone in this group help this young person? S/he can be
reached
> > directly at: KMAJKim at aol.com.
> >
> > >I ama middle school student at anderson Middle School in Berkley,
Michigan.  I
> > >am writing a paper on Canadian Theatre.
> > >I need the page numbers for an article from the magazine Theatre
Research in
> > >Canada, Volume 17, Spring, 1996, titled "Cantonese Opera In Its
Canadian
> > >Context: The Contemporary Vitality of An Old Tradition"; I would
really
> > >appreciate your help.
> > >  Thank you very much
> >
> > Gaetan Charlebois
> >

From deborah.tihanyi at UTORONTO.CA  Tue Nov 24 10:01:37 1998
From: deborah.tihanyi at UTORONTO.CA (Deborah Tihanyi)
Date: Tue, 24 Nov 1998 10:01:37 EST
Subject: Wonderful production in Halifax
Message-ID: 

I second that . . .

Deborah

Alistair
Thanks for letting everyone know of "Icaria".... sounds really=20
interesting and worth seeing.
Let's hear more of this sort of review here...
Glen

From rgilbert at HUBCAP.MLNET.COM  Tue Nov 24 20:50:27 1998
From: rgilbert at HUBCAP.MLNET.COM (Reid Gilbert)
Date: Wed, 25 Nov 1998 01:50:27 GMT
Subject: Page numbers
Message-ID: 

Although I second Ric's concern that a student seeking page numbers for an
article might be padding a bibliography, I also want to raise one other
possibility which those of us who teach need to consider.

More and more students are finding articles in online databases and
downloading these as full-text. I'm thinking of data bases like CBCA
(Canadian Business and Current Affairs which has absorbed indeces like CPI,
Canadian Periodical Index)and the quite marvelous new FullText Elite of
EbscoHost which indexes some 3200 periodicals, including scholarly journals,
and presents some 70% of these in full-text.  __CTR__ is indexed in
EbscoHost.   These are, of course, a wonderful resource, but a major problem
is that the downloaded full text does not indicate the original page numbers.
 Students only learn the number of pages and the page on which the article
began in the particular Vol/Issue of the journal/magazine.

This means that students can't make proper internal citations (MLA) or
footnotes.  It also means that citations in a List of Works Cited or
Bibliography  must be awkward online citations.  MLA and APA are both in
process of creating new entry models for such online sources but they are, at
the moment, rather awkward and incomplete.

I don't understand why those who input the articles can't indicate page
numbers, but at present they do not.

As the www and electronic journals become more and more the resource of
choice of students doing undergraduate research, problems with these sources
will begin to affect all of us who teach.  I encourage my students to use
online sources for scholarly journals (and I include __CTR__) but I
discourage them from using general web sites which do not have some
accreditation. An online journal is simply a reproduction of an article which
has already undergone jury or editorial scrutiny, but a miscellaneous web
site can often give poor or downright incorrect information.  I've had some
funny "quotations" from such unofficial web sites, but I'm also worried about
the possibility of racist or sexist, or otherwise biased web sites being
incorporated into essays by naive students who believe anything in print or
online must be of value and of equal value to all other sources.  I think it
is even more important than it used to be to teach students to evaluate
sources, and especially those found on
the internet.

Just some "teacherly" thoughts.

- Reid

From cottreau at DUKE.USASK.CA  Wed Nov 25 13:31:35 1998
From: cottreau at DUKE.USASK.CA (Deborah A. Cottreau)
Date: Wed, 25 Nov 1998 12:31:35 -0600
Subject: Page numbers
In-Reply-To: <15138814.5578327@hubcap.mlnet.com>
Message-ID: 

In response to Reid's astute comments I would just like to add that the
transmission of scholarly journals via the net is a new enterprise for
most of us who are trying to get our journals online.  There are so many
considerations, so many bases to cover, and so many decisions to make that
sometimes REMEBERING to put in something as simple as pages numbers
(something not relevant to the electronic medium to begin with) is a
challenge.

A good point well made.

Deborah Cottreau, Co-Editor
_Theatre Research in Canada/Recherches theatrales au Canada_

On Wed, 25 Nov 1998, Reid Gilbert wrote:

> Although I second Ric's concern that a student seeking page numbers for an
> article might be padding a bibliography, I also want to raise one other
> possibility which those of us who teach need to consider.
>
> More and more students are finding articles in online databases and
> downloading these as full-text. I'm thinking of data bases like CBCA
> (Canadian Business and Current Affairs which has absorbed indeces like CPI,
> Canadian Periodical Index)and the quite marvelous new FullText Elite of
> EbscoHost which indexes some 3200 periodicals, including scholarly journals,
> and presents some 70% of these in full-text.  __CTR__ is indexed in
> EbscoHost.   These are, of course, a wonderful resource, but a major problem
> is that the downloaded full text does not indicate the original page numbers.
>  Students only learn the number of pages and the page on which the article
> began in the particular Vol/Issue of the journal/magazine.
>
> This means that students can't make proper internal citations (MLA) or
> footnotes.  It also means that citations in a List of Works Cited or
> Bibliography  must be awkward online citations.  MLA and APA are both in
> process of creating new entry models for such online sources but they are, at
> the moment, rather awkward and incomplete.
>
> I don't understand why those who input the articles can't indicate page
> numbers, but at present they do not.
>
> As the www and electronic journals become more and more the resource of
> choice of students doing undergraduate research, problems with these sources
> will begin to affect all of us who teach.  I encourage my students to use
> online sources for scholarly journals (and I include __CTR__) but I
> discourage them from using general web sites which do not have some
> accreditation. An online journal is simply a reproduction of an article which
> has already undergone jury or editorial scrutiny, but a miscellaneous web
> site can often give poor or downright incorrect information.  I've had some
> funny "quotations" from such unofficial web sites, but I'm also worried about
> the possibility of racist or sexist, or otherwise biased web sites being
> incorporated into essays by naive students who believe anything in print or
> online must be of value and of equal value to all other sources.  I think it
> is even more important than it used to be to teach students to evaluate
> sources, and especially those found on
> the internet.
>
> Just some "teacherly" thoughts.
>
>
> - Reid
>

From CYWS at MUSICA.MCGILL.CA  Wed Nov 25 14:44:50 1998
From: CYWS at MUSICA.MCGILL.CA (Denis Salter)
Date: Wed, 25 Nov 1998 14:44:50 EST
Subject: Page numbers
In-Reply-To: In reply to your message of Tue, 24 Nov 1998 20:50:27 EST
Message-ID: 

Reid: thank you for all that "teacherly" information about
different data bases and the like and the problems that students
face in trying to use them properly.

Denis.

From bhatt at INTERCHANGE.UBC.CA  Fri Nov 27 02:02:58 1998
From: bhatt at INTERCHANGE.UBC.CA (Barbra French)
Date: Thu, 26 Nov 1998 23:02:58 -0800
Subject: No subject
Message-ID: 

Hello everyone

I'm a new subscriber, and I have run across a problem that maybe someone out there could help me with.

I am currently finishing up a degree in theatre at UBC.  I am writing a research paper on the Fringe, and am looking for information about the history of the Vancouver Fringe, ie its start up, venues, productions, stats on attendance and companies, etc.  I understand that the ideal person to talk to is Joanna Maratta, but she is no longer here in Vancouver.

Does anyone know of some good sources for me?  I have found several articles in CTR, but nothing specifically about Vancouver.  Unfortunately, I am under the gun a bit on this one, so any help would be greatly appreciated.

Thank you all!
Barbra French
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From bhatt at INTERCHANGE.UBC.CA  Fri Nov 27 11:20:16 1998
From: bhatt at INTERCHANGE.UBC.CA (Barbra French)
Date: Fri, 27 Nov 1998 08:20:16 -0800
Subject: No subject
Message-ID: 

Re: Fringe history info

Perhaps I was not clear with my request for information.  I will, of course, be contacting the Fringe office directly.  However, as they are currently mired in next year's applications and the have undergone a change in management in the past year or so, I thought it wise to uncover all the possible sources available.  Perhaps even Joanna herself is a subscriber?  Or there is an article or book out there that has escaped my search?  If anyone has any information it would be greatly appreciated.  
Thanks again.
Barbra

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From annen at ATHABASCAU.CA  Mon Nov 30 15:11:37 1998
From: annen at ATHABASCAU.CA (Anne F. Nothof)
Date: Mon, 30 Nov 1998 12:11:37 -0800
Subject: Brook's Mahabharata
Message-ID: 

Hello colleagues.  Does anyone know whether Peter Brook's theatre
interpretation of The Mahabharata was filmed?

Thanks,
Anne Nothof

From fisher at EASYNET.CO.UK  Mon Nov 30 16:47:27 1998
From: fisher at EASYNET.CO.UK (Mark Fisher)
Date: Mon, 30 Nov 1998 17:47:27 -0400
Subject: Brook's Mahabharata
Message-ID: 

>Hello colleagues.  Does anyone know whether Peter Brook's theatre
>interpretation of The Mahabharata was filmed?
>
>Thanks,
>Anne Nothof

Yes it was. I saw the real thing, so didn't bother with the recorded
version, but I'm reasonably certain there was a TV version which, in
Britain, was shown on Channel 4. At a guess, I'd say it was shown around
1990.

(I remember this, because I was hassled by a London-based publicity officer
who wanted me to write about the programme and the spin-off book in my
capacity as theatre editor on The List magazine in Scotland. She didn't
seem to accept that as the magazine had covered the production on its only
British dates in Glasgow, we had no particular reason to be interested in
the small-screen version. This is an example of the same blinkered
metropolitan bias that Candrama list members were complaining about in the
recent discussion about Toronto versus the rest of Canada.)

- Mark

http://easyweb.easynet.co.uk/~fisher/

From david.eden at UTORONTO.CA  Mon Nov 30 15:26:41 1998
From: david.eden at UTORONTO.CA (David Eden)
Date: Mon, 30 Nov 1998 15:26:41 -0500
Subject: Brook's Mahabharata
In-Reply-To: <3662FBF9.30A8880B@athabascau.ca>
Message-ID: 

On Mon, 30 Nov 1998, Anne F. Nothof wrote:

> Hello colleagues.  Does anyone know whether Peter Brook's theatre
> interpretation of The Mahabharata was filmed?
>
> Thanks,
> Anne Nothof
>

Yes, it was.  I found a copy in the Burnaby Public Library, on 3
videocassettes.  It is all filmed in a studio, with that BBC look to it.
Not as exciting as seeing it live I would imagine, but certainly well
worth watching.

David Eden
Gerstein Library
University of Toronto

From blajeune at TOTAL.NET  Mon Nov 30 22:12:31 1998
From: blajeune at TOTAL.NET (Gaetan Charlebois)
Date: Mon, 30 Nov 1998 22:12:31 -0500
Subject: Encyclopedia news
Message-ID: 

Hello all

We passed the 1060 mark, this week, in the number of profiles now contained
in The Encyclopedia. I have set the official launch date for January 12,
1998. At this time a major mailing will be sent out by e- and surface mail
and by fax. If anyone would like to suggest someone to add to the
mailing-list, please feel free to do so.

I want to draw your attention to one new profile in particular, this week:
Arthur Deagon. It was his family who revealed him to me and the pile of
news clippings they sent was a joy to read. I'm also proud to say his name
does not appear in any other encyclopedia-style publication in Canada or
the US.

Meanwhile, traffic for the second month of the site has increased 30% over
the first month; that is, 1748 hits over 1350. (I am still doing battle
with a traffic-report system that refuses to count unique visitors
properly...) Traffic is coming, already, from over 12 universities and
colleges across this country and from several from 20 or so countries
abroad.

New Profiles:
Deagon, Arthur (Actor, c.1873-1927)
McCamus, Tom (Actor)
Waxman, Al (Actor)
Peacock, Lucy (Actor)
Seatle, Dixie (Actor)
Campbell, Benedict (Actor)
Chioran, Juan (Actor)
Cimolino, Antoni (Director)
Ottawa Little Theatre (venue/company)

Updates:
Dale, C.; Women in View; Feminist Theatre; Wood, J.; Maraden, M.; D'Aquila,
D.; Cadeau, L.; Campbell, D.; Bedford, B.; Donkin, E.; Collins, P.;
Leblanc, D.; Theatre Francais de Toronto; Applebaum, L.; Ouimette, S.;
Dominion Drama Festival; Awards; Lord Bessborough; Mitchell, K.; Proteau,
R.; Fox, MJ; Sources; Ontario; Buddies in Bad Times, Alberta; British
Columbia; Theatre Network; Citadel Theatre; Mermaid Theatre; New Brunswick;
Imperial Theatre; Prince Edward Island; Newfoundland; Stratford Festival;
Arts Club Theatre; Cavendish, N.; Moore, M.; Pelletier, G.; Pelletier, D.;
Vingt jours de theatre a risque

Cheers.

Gaetan Charlebois (Editor, The Encyclopedia of Canadian Theatre on the WWW)
http://www.canadiantheatre.com