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Decolonizing Toronto Theatre, Hanna Shore
Decolonizing Toronto Theatre, Hanna Shore
Undergraduate Student Research Internships Conference
This research project, “Decolonizing Toronto Theatre,” examines how Soulpepper, a mainstream Toronto theatre company, and their collaboration with Native Earth Performing Arts are contributing to the equity, diversity, inclusion, and decolonization of Toronto theatre through their recent Indigenous productions: Kamloopa and Where the Blood Mixes. We watched, read, and analyzed both plays to explore how these two productions transform and redefine the intellectual, political, and artistic conventions of Anglo-Canadian theatre. Our analyses of these plays are informed by the various texts centred around Canadian Indigenous history and Indigenous theatre. We also used an ethnographic approach by talking to people …
"Words, Words, Words": The Idea Of The Absurd As Method In Hamlet., Anthony Faber
"Words, Words, Words": The Idea Of The Absurd As Method In Hamlet., Anthony Faber
Modern Languages and Literatures Annual Graduate Conference
In this paper I explore the idea that Hamlet develops the notion of the absurd as a method with which to confront his world: however, as art imitates nature, Hamlet's discourse of "an antic disposition" suggests, that he in fact embodies the absurd as constituting a meaningless existence.
Class Movements In The New South Africa: Post-Colonial Politics, Neocolonialism, And Mimicry In Pieter-Dirk Uys’S Macbeki A Farce To Be Reckoned With, J. Coplen Rose
Modern Languages and Literatures Annual Graduate Conference
This paper uses Homi Bhabha’s theory of colonial mimicry to analyze Pieter-Dirk Uys’s MacBeki: A Farce to be Reckoned With. In doing so I posit MacBeki is a colonial mimic, a character who comically imitates European gestures and language. MacBeki’s behaviour throughout the play highlights the dangers of greed and corruption in post-apartheid South Africa and encourages the play’s audience to respond with ridiculing laughter. My paper concludes by arguing that Uys’s play should be read as a hybrid text that draws on European dramatic styles and South African political events, staging a critical response to national uncertainties ahead …