is a critical forum for professors and students that showcases the extraordinary talent and voices of the underrepresented and marginalized within the arts. We offer nearly 50 back issues of magazine that engage with significant historical, socio-political and still current events in theatre that will diversify and enliven curriculum.

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“I was looking through back issues of… when I came across Ted Little’s editorial discussing ali and ali (Vol 3.1). It’s the best articulation I’ve heard of the other/self dynamic-argument, which for me is at the heart of the play’s politic… Because it’s a theme that continues to dominate my thinking, it’s really gratifying to have it so well explained, and in the future I’m going to include the editorial in my course-pack for workshops on political theatre.”

– Marcus Youssef, Concordia instructor


Radical Pedagogy

Contextualizing the image (12.1, pp.18-23): Shelley Liebembuk reflects on San Francisco-based La Pocha Nostra’s [founded by Guillermo Gómez-Peña, Roberto Sifuentes and Nola Mariano] radical performance pedagogy in a week-long residency at the University of Toronto.

Queerly Canadian

Queerly Canadian: how a “queer” Canadian theatre company found its place at an international “Gay: Jay Whitehead of Theatre Outré ruminates on the Canadian difference in queer storytelling [citing artists: Sky Gilbert, Michel Marc Bouchard and Brad Fraser].

Drag Kinging

Drag Kinging with Ben & Pony (10.3, pp.14-19): Writer Angela Meyer (Pony) and photographer Shirley Tse explore the aesthetics and politics of performing gender on stages and in public space.


Immigrants in Berlin

Echter Berliner ihr nicht fuck you: Graffiti as Gesamtkunstwerk at English Theatre Berlin | International Performing Arts Center (11.1, pp. 22-27): Artistic Director Daniel Brunet describes English Theatre Berlin’s use of documentary theatre to examine the diverging and converging experiences of “expats” and “immigrants” in Berlin.

Global Empathy

Towards a theatre of global empathy: imagining otherness in the war on terror (12.1, pp.10-17): Matt Jones examines how three recent Canadian-produced plays [Truth and Treason by Rahul Varma; Dust by Jonathan Garfinkel and Christopher Morris; and Black Spring by Hazim Kamaledin] about the War on Terror attempt to reproduce the lived experience of the “other.”

Mass Media Muslims

Mass Media Muslims: a three lens theory of representation (12.2, pp.16-19): Jamil Khoury reflects on creating new theatrical narratives about Muslims [citing playwrights Yussef El Guindi (Back of the Throat, Our Enemies and Language Rooms) and Jonas Hassen Khemiri (Invasion! and I Call My Brothers)].

Gender & Sexuality (5)

Learning From Mistakes

Learning from Our Mistakes: building relationships through the arts with First Nations communities (10.4, pp.16-20): Rosemary Georgeson with Savannah Walling dialogue on their experience in artistic collaboration with First Nations communities.


Entering into the Journey of Reconciliation, (11.2, pp.10-15): Will Weigler shares stories of Victoria’s From the Heart – a community-based immersion theatre project facilitated creative space for self-decolonization.

Oral History

The Performativity of Evidence: Oral History Testimony in Aboriginal Land Claim (10.2, pp.24-28): Manpreet Dhaliwal considers the performativity of oral history in the Canadian courtrooms through the compelling case of Delgamuukw v. British Columbia.


12.3 and 12.4: Special issue on Community Arts and (De)colonization: The national travelling community arts project, involving hundreds of artists, consisted of visiting each other’s communities and witnessing and exploring the variety of ways we are – and could be – using art to build connections between Indigenous and non-Indigenous communities.



Biculturalism & Blackface (11.4, pp.8-9): Nikki Shaffeeullah discusses how voices across the country have condemned Rideau Vert for their baseless use of blackface in their annual satirical year-in-review of news events, where in 2014 a white actor donned makeup to play Montreal Canadiens player P.K. Subban.

Alter Your Ego

Alter Your Ego: lessons from a hip-hop play, (11.1, pp.10-15): Crystal Chan muses on Montreal Black Theatre Workshop’s production of Omari Newton’s Sal Capone: The Lamentable Tragedy of, a play about the rage of the underdog and persistent injustice in a discriminatory world.

Forum Theatre

Rehearsing Oppression (?): Forum Theatre at the Théâtre de l’opprimé in Paris (10.2, pp. 20-23): Julien Naggar contemplates the difficulties – and rewards – of being a multicultural Canadian actor of Forum Theatre in secular France [citing Augusto Boal and Paulo Freire’s theories and practices].


The conversation: how we talk about cultural diversity in theatre (9.4, pp. 10-16): Nikki Shaffeeullah explores the conversation emerging from Puente Theatre’s symposium Sharing the Legacy: Embracing Diversity and the Practice of Inclusive Theatre in a Changing Society.



“The Art of Accessibility” (11.3, pp. 8-9): Nikki Shaffeeullah’s editorial talks about how accessibility is central to the craft of theatre-making; it is an artistic asset, for theatre and (dis)ability justice share the core value of interdependence.


Stigmas of Capitalism: the wounded and disabled body in Li Ning’s Physical theatre (11.3, pp.10-15): Ruicai Kong’s examination of Li Ning’s theatrical work [Preparation and Exuviate-Implant] explores how violence, pain and pleasure are inscribed by modern China’s political and economic apparatus on the body.


\"Are you Scared?”: (re)presenting the disabled body/self and the visual works of Jes Sachse (11.4, pp.18-22): Allison Leadley explores how Toronto artist jes sachse’s work [body language, American Able and The Justice League of Gawkamerica] challenges negative preconceptions surrounding the disabled subject.

Deaf Performance Arts

Deaf Performance Arts, Sound & Allah Earth (11.3, pp.23-25): Sabina England writes about how she works with sound in making art as a Deaf filmmaker and performance artist, specifically on her solo show, Allah Earth.

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