October 17th – Dancing Monkey Laboratories present a staged reading of Mike Czuba’s play: AFTER US THE SAVAGE GOD.
“A play that speaks directly to our current political environment. One part (un)historical biography – one part biting satire on our modern media.”
**Warning: Contains Adult language, fluids and depravity.
The readers are: Michelle BRANDENBURG, Lonni OLSON, Dean COMBITSIS, Filsan DUALEH and Melissa TUPLIN.
The history books all suggest the writer and full time lunatic, Alfred Jarry, died from a combination of malnutrition and a super-human consumption of alcohol. After Us The Savage God will offer another hypothesis – Time travel.
The latest instalment of *PAGE ONE: Actor Amy Sawka reading the opening of KARL NIMENI IS NOT DEAD – I KILLED KARL NIMENI, a Night Play by Mike Czuba.
**Page One is a video initiative by Dancing Monkey Laboratories to connect with actors, dancers, designers, and anyone else really, to read the first page of one of Mike Czuba’s plays (*or – a page from anywhere in the text, or the last page, or a collection of sections, eventually even the screenplays – it’s flexible – and contains many an ‘ish’ as is suggested by Nocturology‘s non-existent, yes strongly suggested, theatrical guidelines.)
Dancing Monkey is in the process of shooting a new short dance film entitled THE VOID based on an in-development performance event HUMANOID – A LOVE SUPREME.
We are experimenting with the shape and elements of narrative within movement and how that movement transforms within different environments.
We are also taking our time – letting the content and quality of that content determine the timeline.
Artists involved: Mike Czuba, Melissa Tuplin, Nathaniel Schmidt, Leon Schwesinger, Katrina Muller, Samantha Scafidi, Kelsy Norman.
Page One is a video initiative by Dancing Monkey Laboratories to connect with actors, dancers, designers, and anyone else really, to read the first page of one of Mike Czuba’s plays (*or – a page from anywhere in the text, or the last page, or a collection of sections, eventually even the screenplays – it’s flexible – and contains many an ‘ish’ as is suggested by Nocturology‘s non-existent, yet strongly suggested, theatrical guidelines.)
The goal is to allow others to intemperate the material and find their own imagery within the texts, without much, if any, guidance from the writer. To allow these theatrical texts to exist in completely different worlds – or more correctly – in the actual world. To allow the words to live. Enjoy.
Performer and educator Ksenia Thurgood has written an open letter to the Canadian Actors’ Equity Association about revisiting their policies on sexual harassment in an artist’s workplace. I am sharing it here to help in increasing awareness and to encourage you to also share the letter and to share your stories. Everyone must feel safe.
I am writing you because I have recently learned of the CAEA’s policies on reporting sexual misconducts and I want to open up a dialogue.
First off, reporting 1 year after that particular contract ends where the incident(s) occurred is a shallow time frame. Often, it takes survivors over a year to move from the raw trauma phase of an assault let alone be able to think about reporting it.
Secondly, reporting to the ‘person in charge’ is difficult as what happens when the perpetrator is the artistic director or on the board of directors? It’s difficult enough to admit what happened, come forward and then facing the individual who acted inappropriately/abusively who controls the outcome of your job/future jobs.
Thirdly, currently, the CAEA western office admitted to having no one trained in dealing with these types of cases. What is available to members as support?
Right now, members talk privately to warn one another, but new artists are not so lucky. In order to protect future generations of Canadian artists, these polices must change so perpetrators can be held accountable. What can I do as a member to see this change come into fruition?