The seed of the idea for The Anniversary began a decade ago when I met robothespian, a smooth-talking humanoid robot designed for performance. After 15-seconds of conversation with robothespian I felt a cognitive dissonance: I knew I was talking with a machine; but I feltI was interacting with a person—making eye contact, responding to questions, being polite. The Anniversary began with the idea of casting robothespian in a play and exploring the rise of social robots. But in energetic and wide-ranging talks about the idea with Kevin Orr, he continually encouraged me to think broadly about what I was exploring. When it came to writing the first draft during a pandemic summer, he did the same, giving this experienced writer the ultimate creative challenge: See what you come up with. The story emerging in The Anniversary—one about what we can control in life, parenting, and the unforeseen consequences of choices—is much juicier and universal than I’d initially imagined. Orr’s feedback on the draft helped me see these core issues, situate the story in the larger theatrical tradition (he leant me a dozen plays to read over the summer), and set me on my enthusiastic way for writing a next draft.
When beginning the lab process, we were looking to explore borders. A lot of questions came to our mind surrounding the topic. We ended up choosing those aspects that were closer to us: geographical limits, personal boundaries, the thoughts that won't let us move forward. We reflected that those borders could not only separate but also be a bridge that connects. The aesthetic of this piece was defined during our explorations. The performing experience we've envisioned includes live performance, live streaming, and prerecorded materials. We use those mediums to connect two places, in this case, Canada and Mexico. We'll continue exploring based on the experience gained from the Lab.
The Inside Out Project
Helen Cruz and Carolina Gallegos Colmenares
Carolina Gallegos Colmenares
Theatre 4.669's 2020 Creators' Lab has provided the duo with the opportunity to both solidify and formalize their performance practice into set strategies that can be built upon in future performances. The 2020 Creator's Lab has given Matt and Lesley the chance to "balance their checkbooks, write their set list in black sharpie, and to finally say "YES" to the dress(es).
Lesley Marshall and Matt Miwa are frequent collaborators in performance art (ChinaTownRemix, Nuit Blanche, SAW Gallery, Axeneo7, Htmlles Festival) and both approach their collaborative practice from different perspectives and disciplines. While Matt is trained in theatre informed by Japanese histories, acrobatics and gender non-conformity, Lesley's practice draws upon her experience as a musician, video artist, environmental activist and feminist they converge in the arena of queerness.
Leslie Marshall and Matt Miwa
Remplir le vide\Filling the void s’intéresse aux multiples façons que l’humain utilise pour chasser l’ennui, la lassitude, le manque. Quelles sont les stratégies tant toxiques que ludiques qui permettent de remplir le vide, qu’il soit financier, relationnel ou existentiel?
Dance, movement, words, music and projection are used in a desire to utilize a multitude of languages to answer this question. Each member of the creative team “contaminated” each other and allowed themselves to step outside their own discipline to explore the question with a fresh outlook. Therefore the musician became a director, the visual artist created the musical environment, the dancer delivered the words, and the actor wrote the text.
Remplir le vide - Filling the Void
Marc-André Charette, Marianne Duval, Pierre-Luc Clément, Amelia Griffin
No More Mister Rice Guy
Franco Pang and Allie Harris