The Left, the Theatre, and the Myths We Need to Stop Perpetuating

Given the massive and probably somewhat brand-destroying lacuna between my last blog post and this one, and given the fact that I’ve spent some of the past hour washing my dishes and sort of muttering softly under my breath about god only knows, I’ve decided to take this occasion as an excuse to get back to blogging.

One of the realities of writing about theatre in the blogosphere is that generally speaking, most of the people doing it have political affinities which are remarkably similar to my own, and while this experience can at times be veritably cockle-warming and sort of affirming, emotionally, it doesn’t always yield the most exciting or useful debates when it comes to politics and theatre. One of the characterizing features of theatre-thinking in this country is that it is dishearteningly echo-chamber-like, especially online. Yeah, we get the odd Twitter conversation about Factory Theatre’s decision to delay the invite to critics, or Kelly Nestruck’s recent (and interesting) article about Equity – but these are concerns about particularities; what’s missing (or at least marginalized), it seems to me, is any kind of fundamental disagreement about what, how, or why theatre is, or ought to be.

I don’t pretend to offer a total paradigm-shift here. But I’ve been thinking a lot about, specifically, the influence of the Internet and the proliferation of a post-New Left vocabulary on theatre artists (at least in Canada), and how these otherwise mostly positive forces might be having a negative effect on not only our artistic practice, but on our ability to talk sensibly about systemic and cultural deficiencies in Canadian theatre.

A warning: this is going to be long, and circuitous. I’m nothing if not verbose. Bear with me – I promise I’m going somewhere with this.

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A modest proposal for a better way to brand theatre (commissioned by SpiderWebShow)

(The following is an article commissioned by the Praxis Theatre & National Arts Centre joint venture SpiderWebShow.)

 

I’m a bad interview; I’ve learnt this now, from sad experience, a frosty November morning spent at Theatre Ontario’s offices at 401 Richmond, where I’d attempted with varied degrees of success to affect the folksy, unbuttoned erudition of what we might imagine characters in a Sorkin screenplay to sound like, my feigned patois unraveling after only three questions, flop sweat beading on brow and philtrum.  I was interviewing for a seat on TO’s Youth Advisory Committee, and after yammering at some length on a possible program to get young people to go to the theatre, I was asked, point-blank:

“How would you assess the demand for such a program?”

…Whereupon, having no lucid answer, I devolved into inarticulate grunts and rudimentary hand gestures. Later, slogging my way up Spadina, the question’s brisance having wiped the sun from morning’s glory, I began to wonder why, exactly, didn’t I have an answer prepared?  The question, you’ll agree, is not thoroughly difficult.

Except, actually, when I parse it out, the thing just seems more and more removed and weird and unanswerable. Why need we assess the demand at all, necessarily? Isn’t our job (at least in part) as artists, theatre producers, whatever, to create demand for our work, not just to react to it?

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