Author Archives: charlieandrewpeters
New scholarly work published!
Check out my new work in the Journal of Contemporary Drama in English, “The Unrepresentable Takes The Stage: Bisexual Legibility and Theatrical Monosexism in Contemporary English-Language Drama.”
And…
A piece I wrote is now available in the new book Dramaturgy and History: Staging the Archive. It’s chapter three entitled “Evoked, If Not Depicted: Dramaturgy and Local History.”
As always, if access to these proves an issue, reach out to me through Embrace Theatre.
New Article in Theatre Research In Canada/Recherches théâtrales au Canada
I am pleased to announce that my article, “The Hierarchy on It’s Side Becomes a Circle: The Directing Practices and Mentorship of Yvette Nolan” has been published in TRIC/TRAC 44.1.
Abstract
This article explores the directing practice of Algonquin and Irish theatre artist Yvette Nolan. Though Nolan is best known as a playwright, this article instead focuses on Nolan as “mentor to a generation of artists” and a significant contemporary theatre director whose interventions into inherited, colonial theatre practices warrant dissemination and discussion. The article explores her directing practice using three major themes: 1) values, process, and who is in the room; 2) food and joy and/as Ceremony; and, 3) vision and excellence. Working to situate hirself relationally as per Indigenous research practices, the non-Indigenous author uses original interviews, existing scholarship, and personal experiences collaborating with Nolan to inform this personal reflection on her practice.
Cet article porte sur la pratique de mise en scène d’Yvette Nolan, artiste de théâtre d’origine algonquine et irlandaise. Nolan est surtout connue comme dramaturge, mais cet article se consacre plutôt à son rôle de « mentore de toute une génération d’artistes » et de metteuse en scène contemporaine dont les actions visant les méthodes théâtrales héritières de la colonisation gagnent à être diffusées et étudiées. L’article envisage son approche à partir de trois thèmes principaux : 1) les valeurs, le processus et les personnes présentes dans la salle ; 2) la nourriture et la joie en lien avec la cérémonie ; et 3) la vision et l’excellence. Afin de se situer sur le plan relationnel dans le contexte des pratiques de recherche autochtones, la personne allochtone qui a rédigé cet article s’appuie sur des entretiens originaux, des recherches existantes et ses expériences personnelles de collaboration avec Nolan pour alimenter sa réflexion sur la démarche de l’artiste de théâtre.
Huge thanks to Yvette Nolan for working with me so generously on this article.
If you have trouble accessing this article (no access through a library, for example) please contact me through Embrace Theatre.
New article in Comedy Studies
I’m delighted to share that my article “Red-Nosed Fantasies of the Future: a framework for social justice-informed performance creation in the Mump and Smoot Lineage of the Pochinko tradition of clowning” has been published in the journal Comedy Studies!
Abstract: This article contextualises a specific lineage of the Pochinko tradition of clowning – which the author refers to as the Mump and Smoot Lineage – before offering an analysis of Judith Butler’s argument for the necessity of fantasy in social change. Putting these two analyses into dialogue, the article offers provocations and theories as to how clowning might provide a fruitful avenue for social justice-motivated fantasy as it is described by Judith Butler. The paper asks and offers responses to two central questions. Firstly, how might understanding clowning’s relationship to social justice pursuits be of use to those creating clown performances? Secondly, how can the practice and craft of the Mump and Smoot Lineage of the Pochinko Tradition of Cowning (MSLPTC) work in service of social justice aims? The author argues that the methodologies of this lineage do not require great alterations to work in meaningful service of social justice aims; the use of a message to the world, the focus on imaginative embodiment, and many of the lineage’s rules are easily deployed in service of social justice-oriented creation. In making these assertions, the author articulates a hope for further research into clowning and its intersections with social justice practice and also that clown practitioners might use their existing practices to further social justice goals.
NOTE: If you do not have institutional access of face other barriers to accessing this, please contact me through Embrace Theatre.
Published Article
I invite you all to read this essay I wrote in which I argue for changes in how we think of and speak about theatre directors. I welcome your thoughts!
Spoken Word News!
I’m thrilled to share a video I’ve been working on for some time with some wonderful collaborators. Check out this film adaptation of a spoken word piece originally included in Many Fires.
I’m also excited to share that I will be the featured poet at this month’s WORD*LAB – presented via livestream at 7:30PM (MST) on January 23rd, 2021. Get all the details here!
Essay Published
I’ve just had an article published in the online journal HowlRound exploring how clowning and physical comedy work online. The article specifically references my experiences directing at the Short Cuts Festival and creating clown with Oblong and Oboe.
SATAward Nomination
I’m honoured to have been nominated for a Saskatoon and Area Theatre Award for Outstanding Original Script for Many Fires. It’s a huge honour to be recognized alongside folks I respect so much: Kim Senklip Harvey, Caleigh Crow, Jennifer Wynne Webber, and Todd Devonshire.
Congratulations to the many colleagues and friends nominated for these awards!
Kindred Cities Interview
I just did an interview with Kindred Cities Blog about my life, art, and living in Saskatchewan. Give it a read here!
“Saskatoon has lots to be proud of and lots to work on. Saskatoon could afford to build more (figurative) bridges.”
La Boheme is onstage!
You only have two more chances to catch the show! Click here for tickets.
The Saskatoon StarPheonix published it’s review – check it out in full here.
“There’s a lot to love… Is it a perfect production? No. Does it hit all the right emotional notes? Certainly. Peters… and the Saskatoon Opera can consider this production a dazzling success.”
Charlie Peters 