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<p style="margin:0in;margin-bottom:.0001pt"><span class="MsoHyperlink"><b><i><span style="font-family:"Arial","sans-serif";color:black;text-decoration:none">CTR</span></i></b></span><span class="MsoHyperlink"><b><span style="font-family:"Arial","sans-serif";color:black;text-decoration:none"> 154
/ Spring 2013</span></b></span><span class="MsoHyperlink"><span style="font-family:"Arial","sans-serif";text-decoration:none"><br>
</span></span><span style="font-family:"Arial","sans-serif""><a href="http://utpjournals.metapress.com/content/kq6k85576478/">The New Saskatchewan</a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;margin-bottom:24.0pt;text-align:justify;text-autospace:none;vertical-align:middle">
<span style="font-family:"Arial","sans-serif";color:black">In the past few years booming resource industries and a buoyant agricultural economy have transformed Saskatchewan from a “have-not” to a “have” province at the same time that most western economies
have been struggling. Driven by the demand for workers and good paying jobs, Canadians from other provinces and immigrants from around the world have moved to both rural and urban communities in numbers that have not been seen since before the Depression.
The wealth and increased cultural diversity of this “New Saskatchewan” has situated the arts on the threshold of potential opportunities which also come with substantial challenges. It is therefore a good time to take a close look at theatre in the “New Saskatchewan,”
and consider how artists are negotiating between old and new in order to make a home for themselves and others in theatre, drama, and performance in the province. Professional theatre in rural as well as urban centres, audio drama seeking global audiences
electronically, drama transforming “the rez” and the future for aboriginal youth, thriving Fransaskois theatre, theatre by recent immigrants, site-specific theatre, and improvisationally driven performance are just a few of the many faces of “New Saskatchewan
Theatre.” Drawing upon the creative work of seasoned provincial artists as well as those new to Saskatchewan, this issue explores the ways in which they and others in the community are adapting theatre to make a space and a place for themselves on and beyond
“the Land,” which has traditionally dominated the province’s identity<o:p></o:p></span></p>
<p><span style="font-family:"Arial","sans-serif";color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">This issue contains:
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif""><a href="http://utpjournals.metapress.com/content/9m2k9726326614u2/?p=85cdcc9006274022bfe3913b29565eac&pi=0">Theatre and Drama in the New Saskatchewan: Making Space and Place on and beyond
the Land</a><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif"">Mary Blackstone and Moira Day<span style="color:black"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Arial","sans-serif"">Abstract
<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Arial","sans-serif"">Although Saskatchewan conjures up images of a persistently have-not but determined farming culture and ferociously cold winters contributing
to out-migration and cultural bareness, this vision derives more from past mythologies than the New Saskatchewan of the twenty-first century. With only 35% of the population currently in rural areas, a roaring economy and high job vacancy rates, its cities
are bursting at the seams with new immigrants from Canada and abroad. Although this prosperity has not led to increased funding for the performing arts, theatre artists are among those moving to the province lured by the opportunity both to explore new, innovative
approaches to dramatic work and to draw creative energy from the land, its traditions, and established creative institutions. With a thriving rural as well as urban theatre scene, Saskatchewan theatre artists are contributing to a redefinition of its cultural
and social climate and its sense of identity. </span><span style="font-family:"Arial","sans-serif";color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.154.001</span><span style="font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif""><a href="http://utpjournals.metapress.com/content/06872j065w025206/?p=85cdcc9006274022bfe3913b29565eac&pi=1">The Driest Cold: Surviving as a Theatre Artist in a “Cold Climate”</a><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif"">Yvette Nolan, Philip Adams
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Arial","sans-serif"">Abstract
<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Arial","sans-serif"">One of the benefits of moving to Saskatchewan as a playwright, director, or actor is being able to experiment with new or hybrid approaches
to dramatic work like Ken Mitchell’s constantly evolving <i>Medicine Line</i>. However, like that play with one foot in the past and one foot in the present, the attraction to Saskatchewan also derives from key elements in the “old Saskatchewan.” That includes
the formidable history and ongoing developmental programs of the Saskatchewan Playwrights Centre, but it also encompasses the centre-piece of traditional indigenous and farming culture—a more immediate and sympathetic connection with the natural environment,
traditional ways, and the land. </span><span style="font-family:"Arial","sans-serif";color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.154.002</span><span style="font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif""><a href="http://utpjournals.metapress.com/content/224l88l451685638/?p=85cdcc9006274022bfe3913b29565eac&pi=2">Growing Opportunities: Theatre Thrives in Rural Saskatchewan</a><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif"">M. E. Powell <o:p>
</o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Arial","sans-serif"">Abstract
<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Arial","sans-serif"">Saskatchewan rural communities provide fertile ground professional theatre. Professional theatres in small communities thrive by embracing
a unique mandate, such as the commitment to produce new Saskatchewan and established Canadian plays at Dancing Sky Theatre in Meacham, 67 kilometres east of Saskatoon. Some have combined theatre with other arts, such as the combination theatre, tea room, and
art gallery at Rosthern’s Station Arts Centre, located in the former CN railway depot. Ken Mitchell’s Burning Sun Theatre in Moose Jaw is known for historical drama and epics of frontier culture, such as
<i>Spirits of the Trail (2009)</i> or <i>The Medicine Line (2007)</i>. Of the many communities with amateur theatres, the Battleford Community Players have committed to producing short new Saskatchewan plays in cabaret formats and dessert-theatre festivals.
In these and other examples, Saskatchewan rural theatres provide models for communities across the country.
</span><span style="font-family:"Arial","sans-serif";color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.154.003</span><span style="font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif""><a href="http://utpjournals.metapress.com/content/34k888w0227g8j21/?p=85cdcc9006274022bfe3913b29565eac&pi=3">Linking Who We Are and Where We Are: Saskatchewan’s Legacy of Community and Site-oriented
Performance</a><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif"">Marnie Badham, Kathleen Irwin, Rachael Van Fossen
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Arial","sans-serif"">Abstract
<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Arial","sans-serif"">In Saskatchewan, Common Weal Community Arts, born in the 1990s under Rachael Van Fossen and subsequently led by Marnie Badham, used
the community event to promote social and cultural understanding between diverse communities in rural and urban settings to promote social change. Since 2002, Knowhere Productions Inc. has used site and community to investigate physical and conceptual space
through large-scale performances that explore the relationship between people, memories, landscape and the anachronism of performing one’s place in the world in the age of hyperconnectivity. Through collaborative and non-matrixed performances, both companies
address the meaning(s) of belonging by amplifying the multiplicity of voices from certain places and cultures across rural / urban differentiations through new media and innovative processes. This article explores aesthetic and communal practices within a
socio-historic context and grounded in a perception of the land as a potent and persistent actant in place making and playmaking.
</span><span style="font-family:"Arial","sans-serif";color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.154.004</span><span style="font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif""><a href="http://utpjournals.metapress.com/content/t4054132076l386w/?p=85cdcc9006274022bfe3913b29565eac&pi=4">Homeless on the Range—Theatre without a Home</a><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif"">Kathryn Bracht
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Arial","sans-serif"">Abstract
<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Arial","sans-serif"">Small theatre has to be adaptable and creative in order to thrive, but constantly moving homes can tax even the hardiest theatre company,
let alone their audience. How does homelessness impact a small company? What’s the key to building a loyal audience that will follow a company from venue to venue? Does the tall shadow of a regional theatre in a smaller urban prairie community impact the creative
life of new, struggling companies? This article explores the creative choices, challenges, and successes of several Regina-based companies that began homeless. How did lack of permanency affect these companies, and how did things change once they found a home?
This article examines these questions, and explores the adaptability, creativity, and artistic choices formed by “homelessness on the range.”
</span><span style="font-family:"Arial","sans-serif";color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.154.005</span><span style="font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif""><a href="http://utpjournals.metapress.com/content/uu83415104404k8k/?p=85cdcc9006274022bfe3913b29565eac&pi=5">Regina: The Little City with a Wild Side</a><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif"">Daniel Macdonald
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Arial","sans-serif"">Abstract
<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Arial","sans-serif"">This article focuses on the impact improvisation at the high school level has had on professional performance in Regina (and elsewhere)
over the past twenty-five years. Regina is unique in that it is a small city with a large reputation when it comes to improvisation, rooted in the high school competitive improv format created by the Canadian Improv Games. The article traces the work of several
Regina artists, all of whom were actively involved as high school students in the CIG format, and examines the kind of theatrical innovations these artists have designed in part as a result of their background in improv. The article examines the non-scripted
element of theatrical creation and explores the effect improvisation has had on one film artist in particular as well as the educational and nurturing impact improvisation has had on students in general.
</span><span style="font-family:"Arial","sans-serif";color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.154.006</span><span style="font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif""><a href="http://utpjournals.metapress.com/content/4142m873lp0p5v82/?p=7e7bfae8fc6c4320932151c470a235e8&pi=6">Layering Theatre’s Potential for Change: Drama, Education, and Community in Aboriginal
Health Research</a><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif"">Warren Linds, Heather Ritenburg, Linda Goulet, Jo-Ann Episkenew, Karen Schmidt, Nuno Ribeiro, Allison Whiteman
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Arial","sans-serif"">Abstract
<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Arial","sans-serif"">In this article, we provide a short history of a research project that works in partnership with the File Hills Qu’Appelle Tribal
Council Health Services in southern Saskatchewan that engages Indigenous youth through theatre to explore health issues that affect their lives and their communities. Using applied theatre and other arts-based approaches, we co-create spaces in which youth
can critically examine the choices they make that affect their health. We explain why we chose theatre as a research method and describe how we adapted theatre workshop methods to respond to the needs of the Indigenous youth participants. Finally, we discuss
challenges and limitations of this kind of work. </span><span style="font-family:"Arial","sans-serif";color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.154.007</span><span style="font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif""><a href="http://utpjournals.metapress.com/content/l307718517w3k06q/?p=7e7bfae8fc6c4320932151c470a235e8&pi=7">La Troupe du Jour in the Fransaskois Community: Inclusion Strategies and Multicultural
Spaces</a><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif"">Marie-Diane Clarke, Ian C. Nelson
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Arial","sans-serif"">Abstract
<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Arial","sans-serif"">The strategic thrust of La Troupe du Jour, with its principal mandate of creating new stage works, has developed from a reflection
of the anecdotal or historical realities of its original Fransaskois communities to encompass the wider and even international cultural range of an evolving population of Saskatchewan Francophones. It has created an amalgam of dramaturgical supports to identify
and nurture new and established writers for the French stage, with the eventual aim of diffusing their work through professional productions locally, on tour, and in festivals. Its growing reputation has been recognized with local and national awards and the
publication of a number of its original creations. With more stable funding and the opening of its new production centre, LTDJ has achieved the status of an equal with theatre companies of the English majority, while its programming attracts an ever widening
audience of both French and English speakers. </span><span style="font-family:"Arial","sans-serif";color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.154.008</span><span style="font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif""><a href="http://utpjournals.metapress.com/content/d76x876n682pn816/?p=7e7bfae8fc6c4320932151c470a235e8&pi=8">Saskatchewan
<s>Radio</s> Audio Drama</a><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif"">Ian McWilliams
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Arial","sans-serif"">Abstract
<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Arial","sans-serif"">CBC Saskatchewan has a prolific producer of Saskatchewan radio drama. But CBC’s national elimination of radio drama has resulted in
the loss of this venue for Saskatchewan artists to engage audiences within the province, as well as on a national and global scale. But does this loss of a terrestrial broadcaster mean a loss of Saskatchewan audio drama? Technological advances allow for greater
access to the production and distribution of audio drama. Socio-technical advances are producing online consumers with (a) the expectation of absolute choice in both media and time of consumption of audible products; and (b) an increasing acceptance of the
need to contribute to, or directly support, artistic consumables online. Is Saskatchewan’s audio drama to shift from airwaves to the Internet? Is this a viable option for both artists and audience? What is the future space for “Theatre of the Mind” in Saskatchewan?
</span><span style="font-family:"Arial","sans-serif";color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.154.009</span><span style="font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif""><a href="http://utpjournals.metapress.com/content/w741378824464782/?p=7e7bfae8fc6c4320932151c470a235e8&pi=9">Playwriting in the New Saskatchewan: A Round-table Discussion That Didn’t Really
Happen</a><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif"">Kelley Jo Burke
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Arial","sans-serif"">Abstract
<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Arial","sans-serif"">Almost twenty years ago, while visiting Toronto, writer Kelley Jo Burke was asked, in essence, What was she thinking, living in the
middle of nothing, and as far as humanly possible from any significant theatrical something? According to the wisdom of the (Toronto) time, Saskatchewan, with its paltry number of stages, tiny theatrical community, and rural sensibilities, was no place for
an ambitious playwright to ply her craft. In a Canada where suddenly Saskatchewan is an economic star, is Saskatchewan still a place that playwrights have to leave, to succeed? And if so, why do so many stay? In this article, a cross section of current and
future Saskatchewan playwrights discuss playwriting in the “New Saskatchewan” and look at what has changed and what remains the same.
</span><span style="font-family:"Arial","sans-serif";color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.154.010</span><span style="font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-family:"Arial","sans-serif";color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">Scripts<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif""><a href="http://utpjournals.metapress.com/content/w02v77764217k676/?p=b1df08a61e1b46feacd366292834cb4d&pi=10">Ham and the Ram</a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><span style="font-family:"Arial","sans-serif"">Yvette Nolan<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.154.011</span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Arial","sans-serif""><a href="http://utpjournals.metapress.com/content/n123382757l041h8/?p=b1df08a61e1b46feacd366292834cb4d&pi=11">Gramma</a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto"><span style="font-family:"Arial","sans-serif"">Maki Yi<br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.154.012<o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;margin-bottom:24.0pt"><span style="font-family:"Arial","sans-serif""><a href="http://utpjournals.metapress.com/content/714663k573t54101/?p=b1df08a61e1b46feacd366292834cb4d&pi=12">Views and Reviews</a><br>
<span style="color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">DOI:10.3138/CTR.154.013</span><o:p></o:p></span></p>
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