No abstract

The alternative theatre movement in Victoria tends to be associated with the tenure of Don Shipley at the Belfry Theatre (1975-80), but it was arguably by Liz Gorrie and the Kaleidoscope Theatre Company, a Theatre for Young Audiences, that the alternative theatre movement was first brought to the provincial capital. Starting in 1974 and during its first two decades under Gorrie’s artistic directorship, Kaleidoscope was as politically and aesthetically radical in its objectives and practices as such better-known 1970s companies as Tarragon, Tamahnous, Passe Muraille, and Toronto Free Theatre. Kaleidoscope not only created work that bears comparison with that of contemporary alternative theatre for adults, but thanks to the purity of Liz Gorrie’s theatrical vision, and her deep respect for young audiences, it developed a style of TYA that “changed the face of children’s theatre in Canada and around the world” (McLauchlin “Interview”). Recognizing Kaleidoscope’s contribution to the alternative theatre movement in this country will require a look at the many ways in which the company earned its alternative credentials—even while addressing audiences made up of children. Jennifer Wise and Lauren Jerke look first at the company’s genesis as a progressive alternative to the city’s mainstream regional theatre, then consider its indigenous and collectively created material, its Grotowskian and Brechtian objectives, its anti-illusionistic Asian aesthetic, and its use of masks, puppets, transformation, and abstraction. As Wise and Jerke show, Kaleidoscope in the 1970s and 1980s utilized a virtual encyclopedia of alternative theatre techniques, earning a national and international reputation within five years of its founding and, the authors argue, meriting a permanent place in the history of the alternative theatre movement in Canada.

No abstract

Like Aeschylus’s Women of Aetna , fifth-century Greek tragedy functioned as an augury of happiness. In Aristotle’s time, however, these tetralogies were performed only as “monologies.” Stripped of their celebratory satyr plays and other civic elements, fifth-century tragedies came to look like one-act tear-jerkers, merely sad stories of the deaths of kings. This type of play, which Aristotle calls tragedy and attributes to Aeschylus, Sophocles, and Euripides, was probably the invention of fourth-century Method actors. Their professional skill, together with new rules for tragic competition, transformed a propitious political art into a weepy histrionic one—and produced Aristotle’s otherwise perplexing “sad-ending” theory of tragedy.

No abstract