Postmarginality: Ethical Relationality of Theatre Rehearsal Practice

Postmarginality: Ethical Relationality of Theatre Rehearsal Practice Peter Farbridge As debates about the under-representation of marginalized communities grow in North America, identity-centred perspectives have had a polarizing effect on cultural relations (Preciado; Couturier). In the Canadian theatre community, the ideals of artistic freedom in theatre creation conflict with the need to achieve meaningful progress in Equity, Diversity and Inclusion (EDI), and the results have proven painful for different communities (Gilbert; Martelly; Aguirre). New communication tools are required in theatre rehearsal practice to help negotiate between the welcome increase in the political representation and agency of marginalized artists and the ongoing need for creative liberty. With a cohort of ethnoculturally-diverse participants, I devised a one-hour performative inquiry (Fels) from excerpts of a written play and devised solo work from the participants. The objectives of the inquiry were threefold: (1) to explore how social norms driven by a ‘coloniality of power’ (Quijano and Ennis) manifest in the rehearsal process; (2) to examine if a posture of ethical relationality (Donald) can disrupt these social norms and lead to the rhizomatic connections of Tout-monde (Glissant) and Third Space (Donald; Ermine; Bhabha; Turnbull), and; finally (3) to evaluate if the psychophysical nature of theatre practice (Zarrilli) facilitates pathways towards intersubjectivity (Fuchs and Koch), empathy (Thompson), and generative dialogue (Scharmer). This project suggests that ethical relationality in theatre rehearsal practice would require less emphasis on hard-coded ethical approaches and embrace the dynamic, shifting nature of relationality in a way that generates spontaneous human agency and preserves the creative spirit of theatre practice

The supernatural characters and powers of sacred trees in the Holy Land

This article surveys the beliefs concerning the supernatural characteristics and powers of sacred trees in Israel; it is based on a field study as well as a survey of the literature and includes 118 interviews with Muslims and Druze. Both the Muslims and Druze in this study attribute supernatural dimensions to sacred trees which are directly related to ancient, deep-rooted pagan traditions. The Muslims attribute similar divine powers to sacred trees as they do to the graves of their saints; the graves and the trees are both considered to be the abode of the soul of a saint which is the source of their miraculous powers. Any violation of a sacred tree would be strictly punished while leaving the opportunity for atonement and forgiveness. The Druze, who believe in the transmigration of souls, have similar traditions concerning sacred trees but with a different religious background. In polytheistic religions the sacred grove/forest is a centre of the community's official worship; any violation of the trees is regarded as a threat to the well being of the community. Punishments may thus be collective. In the monotheistic world (including Christianity, Islam and Druze) the pagan worship of trees was converted into the worship/adoration of saints/prophets; it is not a part of the official religion but rather a personal act and the punishments are exerted only on the violating individual

All things being equal: a performative inquiry

As debates about the under-representation of marginalized communities grow in North America, identity-centred perspectives have had a polarizing effect on cultural relations (Preciado; Couturier). In the Canadian theatre community, the ideals of artistic freedom in theatre creation conflict with the need to achieve meaningful progress in Equity, Diversity and Inclusion (EDI), and the results have proven painful for different communities (Gilbert; Martelly; Aguirre). New communication tools are required in theatre rehearsal practice to help negotiate between the welcome increase in the political representation and agency of marginalized artists and the ongoing need for creative liberty. With a cohort of ethnoculturally-diverse participants, I devised a one-hour performative inquiry (Fels) from excerpts of a written play and devised solo work from the participants. The objectives of the inquiry were threefold: (1) to explore how social norms driven by a ‘coloniality of power’ (Quijano and Ennis) manifest in the rehearsal process; (2) to examine if a posture of ethical relationality (Donald) can disrupt these social norms and lead to the rhizomatic connections of Tout-monde (Glissant) and Third Space (Donald; Ermine; Bhabha; Turnbull), and; finally (3) to evaluate if the psychophysical nature of theatre practice (Zarrilli) facilitates pathways towards intersubjectivity (Fuchs and Koch), empathy (Thompson), and generative dialogue (Scharmer). This project suggests that ethical relationality in theatre rehearsal practice would require less emphasis on hard-coded ethical approaches and embrace the dynamic, shifting nature of relationality in a way that generates spontaneous human agency and preserves the creative spirit of theatre practice

Judaism and the modern mind

by H. Farbridg

Lunar and semi-lunar rhythms in fishes

International audienc

The industrial development of Palestine,

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