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<h3><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">CTR</span></i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""> 164, Fall 2015<br>
</span><a href="http://bit.ly/ctroline164"><span style="font-size:14.0pt;font-family:"Calibri","sans-serif"">Vancouver after 2010</span></a><span style="font-size:14.0pt;font-family:"Calibri","sans-serif""><br>
</span><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif";color:black;letter-spacing:.05pt">Edited by Peter Dickinson, Kirsty Johnston, and Keren Zaiontz</span></i><i><span style="font-size:14.0pt;font-family:"Calibri","sans-serif";color:#C47C2F;letter-spacing:.05pt"><o:p></o:p></span></i></h3>
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<span style="font-size:14.0pt;color:black">A startling correspondence across former Olympic and Paralympic host cities is that aggressive social welfare cuts have followed the event.</span><b><span style="font-size:14.0pt;color:#C47C2F">
</span></b><span style="font-size:14.0pt;color:black">These cuts have serious material consequences for those very artists and minority groups that proved so central to winning bids and staging Opening and Closing ceremonies. Five years after the 2010 Vancouver
Olympic and Paralympic Winter Games, with the city’s arts communities still recovering from a series of provincial funding cuts that actually began in 2009, and with post-Olympics development projects encroaching on artist live-work spaces, this special issue
of <i>Canadian Theatre Review </i>brings together scholars, artists, and cultural producers to ask what kinds of resources remain after a mega-event has left town? How do artists and companies adapt to new economic circumstances and leverage audience attention
for and investment in new projects? And what might a reading of the specific aesthetic, social, and affective legacies of different Olympics- and Paralympics-related performances tell us about the state of arts and culture in Vancouver today? From public art
and sound walks, to hockey games and real estate speculation, this issue reveals the pervasive power of the Olympics to continue to shape how Vancouverites move through and live within the city.
<i>Fix</i>, the published script by award-winning playwright Alex Bulmer, demonstrates how citizens of host cities from Vancouver to London must continually renew the fight to the right to the city. Bulmer’s “audio provocation” seeks to engage youth in the
deep questions of citizenship, particularly concerning disability and inclusion. Her script is one of many battle cries in this issue that show art and performance to be more than a stage for official culture, but a political force with which to be reckoned.<o:p></o:p></span></p>
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<span style="font-size:14.0pt;line-height:120%;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:14.0pt">Click </span><a href="http://bit.ly/ctronline164a"><b><span style="font-size:14.0pt">here </span></b></a><span style="font-size:14.0pt">to read the full introduction.<o:p></o:p></span></p>
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