alt.theatre: cultural diversity and the stage at ACTR

[Edward Little]

alt.theatre: cultural diversity and the stage
 
Please help to ensure the continued publication of
Canada¹s only theatre quarterly dedicated to cultural diversity
 
Use the attached subscription form to:
            1. Renew your subscription or become a new subscriber
            2. Forward the attached subscription form to your University
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                subscribing.
 
alt.theatre is a theatre quarterly providing a forum for news and views
about intersections between politics, cultural plurality, social activism,
and the stage.  
 
Our readership includes theatre practitioners, academics, plus others
interested in issues pertaining to arts and cultural plurality. We rely on a
healthy base of paid subscribers to remain eligible for Arts and Literary
Magazine funding.
 
alt.theatre is published in Montreal by Teesri Duniya Theatre -- a
not-for-profit company with a mandate to produce socially-engaged theatre
that reflects Canada¹s social and cultural diversity.
 
ACTR Members associated with alt.theatre are Ted Little (Editor in Chief),
Denis Salter (Associate Editor), and Rahul Varma, Shelley Scott, and Lina De
Guevara (members of the Editorial Board).
 
Denis, Ted, and Shelley will be at ACTR promoting and distributing the
magazine and we would welcome any opportunity to discuss alt.theatre.
 
Vol. 4.1 is currently available, and we are hoping to distribute Vol.
4.2/4.3 ­ a special double issue celebrating Teesri Duniya¹s 25th
anniversary -- at the conference.
 
Contents 4.2 / 4.3
Rahul Varma reflects on the nature of Teesri Duniya Theatre¹s quarter
century of struggle to position socially engaged and culturally
representative arts and artists in Canada as a front line of resistance to
global injustice.
 
Comfort Adesuwa Ero reflects on her experience of cultural colonization and
military dictatorships in Nigeria to argue that transplanted artists must at
times resist hybridisation in order to highlight difference and preserve
authentic representations of the Other.
 
Robert Nunn, in his review of How Theatre Educates, draws attention to the
possibility that ³not all the ways theatre can educate are necessarily
positive and progressive.²
 
Peter Copeman¹s defence of traditional narrative in a postmodern age argues
that storytelling is an ideal platform for intercultural theatre.
 
Monique Mojica presents an evocation of the ways in which she and fellow
artists are drawing on ³blood memory² to access deeply embedded social and
cultural sources for embodied aesthetic expression.
 
Jazwant Guzder considers both the representation and reception of issues
about hybrid identity and marginalized Asian-Canadian youth within the
context of fu-GEN Theatre¹s production of Banana Boys.
 
Leanore Lieblein examines how the Boyokani Company¹s production of an
African Hamlet challenges assumptions about to whom the play speaks and
belongs.
 
Lisa Doolittle and Troy Emery Twigg discuss the rewards ‹ and challenges ‹
of using theatre to build cultural bridges between native and non-native
communities. 
 
David Kornhaber considers the paradox of Brook¹s Tierno Bokar to examine how
an unflinching portrayal of the faults and intolerances of Islam might
foster cross-cultural acceptance.
 

Contents Vol 4.1
Rahul Varma considers minority theatre¹s portrayal of the relationship
between dominant and marginalized communities in the context of Quebec¹s
uneasy relationship with Canadian ³multiculturalism.²
 
Donald Moerdjk reviews the democratised social structure and performative
language of Dood Paard¹s MedEia.
 
Lina de Guevara writes about strategies for navigating the hazards of
cultural representation and misrepresentation in PUENTE Theatre¹s production
of Uthe/Athe (There/Here).
 
Leith Harris follows up on the continuing impact of Vancouver¹s Downtown
Eastside Community Play Project on the lives of participants.

Sarah Stanley reflects on the importance of fostering local community
ownership and pride in directing culturally specific work such as Miss
Orient(ed).
 

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