Daniel Fischlin
University of Guelph, English, Faculty Member
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A Shakespeare Pageant was written by Sister Mary Agnes, who was born Mary Ives in a well-to-do Boston family in 1861, and died in 1939. Sister M. Agnes, as she was known, taught English from 1909 to 1928 at St Mary’s Academy (founded in... more
A Shakespeare Pageant was written by Sister Mary Agnes, who was born Mary Ives in a well-to-do Boston family in 1861, and died in 1939. Sister M. Agnes, as she was known, taught English from 1909 to 1928 at St Mary’s Academy (founded in 1874), an all-girls private Catholic high school in Winnipeg. The work, subtitled “A Dialogue for Commencement Day” and first published by St. Mary’s Academy in 1915, was located as part of the “Canadian Adaptations of Shakespeare” research project funded by the Premier’s Research Excellence Awards (PREA) in Ontario. The project’s purpose is to recuperate the vast archive of “Canadian” theatrical practices associated with adaptations of Shakespeare. A significant unwritten history exists with regard to how Canadian society used theatre in a multitude of contexts. Here I refer to theatre in its broadest contexts, beyond mainstream, urban and high culture – including theatre produced and performed by marginalized communities, workers’ theatre, theatre performed in high schools and community centres and private homes, to list only a few. The “Canadian Adaptations of Shakespeare” project intends, through identification and study of the archive, to come to some clearer understanding of the myriad ways in which adaptations of Shakespeare address ideas of Canadian nationhood as it was reflected in various theatrical practices at different stages in Canadian history. To the long-troubled (and troubling) question of how to identify what it means to “be Canadian,” such an archive posits all sorts of theoretical and practical solutions that emerge from the very diversity of writing and performance practices associated with this particular archive. Adaptation here is a useful marker of the extent to which divergence from an iconic cultural referent and performance practice (like Shakespeare and Shakespearean theatre) also signals new cultural formations and thus new subjectivities as mediated (and produced) by the adaptive process.
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This bibliography represents a first attempt to document, in as comprehensive a manner as possible, theatrical adaptations of Shakespeare’s works in Canada. The list, far from complete and very much still in progress, has been produced by... more
This bibliography represents a first attempt to document, in as comprehensive a manner as possible, theatrical adaptations of Shakespeare’s works in Canada. The list, far from complete and very much still in progress, has been produced by the Canadian Adaptations of Shakespeare project housed at the University of Guelph, directed by myself and funded by a Premier’s Research Excellence Award (PREA) through the Ontario Ministry of Energy, Science and Technology. The award has permitted the project to establish itself as a significant archival research project in Canadian theatre and performance history. The bibliography began in 1998 as part of the background research for Adaptations of Shakespeare: A Critical Anthology of Plays From the Seventeenth Century to the Present (Routledge, 2000) co-edited by myself and Mark Fortier. As a result of work done on that project it became apparent that Shakespearean adaptation in a variety of national sites was not only a vastly understudied phenomenon but also a useful index of the myriad ways in which theatrical culture comments on issues of national identity formation. The latter topic is of especial importance to spaces in which colonial incursions (often heavily reliant on the transference of values imported by settler culture) have played an important role both in constructing a sense, however illusory, of coherent national identity and in critiquing the ways in which national identity formation (almost) always occurs at the expense of sustaining significant cultural differences.
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Stanislavski on Opera details the experience of Pavel Rumyantsev, an actor-singer/director who participated in most of the operatic productions to emerge from Stanislavski’s Opera Studio of the Bolshoi Theatre. The studio was founded in... more
Stanislavski on Opera details the experience of Pavel Rumyantsev, an actor-singer/director who participated in most of the operatic productions to emerge from Stanislavski’s Opera Studio of the Bolshoi Theatre. The studio was founded in 1918 through the influence of E.K. Malinovskaya, manager of the State Theatres in Moscow, then later converted in 1924 into the Stanislavski Opera Studio and in 1926 into the Opera Studio-Theatre, ending up in 1928 as the Stanislavski Opera Theatre (the many names perhaps accounting, at least partially, for the students’ nickname for the studio: “School on the Move”). Rumyantsev took detailed notes of the productions mounted by the variously named studios, and the result is a lengthy exposition of Stanislavski’s musical theatre methodologies, his directorial principles, his blocking instructions and his scenographic innovations. Writing in the style of a memoir, with all the attendant difficulties of speaking authoritatively in another’s voice or of transcribing another’s voice with any degree of historical accuracy, Rumyantsev devotes his attentions to chronicling Stanislavski’s attempt to transform operatic production via the notion of theatre as “an expression of collective art” (374).
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Vijay Iyer is interviewed by Daniel Fischlin and Eric Porter about _Holding it Down: The Veterans' Dreams Project_, Iyer's collaborative project with poet Mike Ladd and military veterans Maurice Decaul and Lynn Hill.... more
Vijay Iyer is interviewed by Daniel Fischlin and Eric Porter about _Holding it Down: The Veterans' Dreams Project_, Iyer's collaborative project with poet Mike Ladd and military veterans Maurice Decaul and Lynn Hill. "The contributors to Playing for Keeps examine the ways in which musical improvisation can serve as a method for negotiating violence, trauma, systemic inequality, and the aftermaths of war and colonialism." link to album: https://vijayiyer.bandcamp.com/album/holding-it-down-the-veterans-dreams-project live performance (directed by Patricia McGregor): https://www.metmuseum.org/metmedia/video/concerts/holding-it-down-veterans-dreams-project-vijay-iyer
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... Speaking in the Name of the Other Border Thinking and the Occidental Barbarian: Impersonating Civility ... to issues surrounding neoliberal doctrine and the response to ithistorical am-nesia, alternative ... technique that strips... more
... Speaking in the Name of the Other Border Thinking and the Occidental Barbarian: Impersonating Civility ... to issues surrounding neoliberal doctrine and the response to ithistorical am-nesia, alternative ... technique that strips things to the bone (in the mode of Juan Rulfo, the ...
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... aspiration to be free. It goes beyond state-focused violations of human rights to address the new threats and violations from globalization and corporate rule. Globalization is robbing all humans of their humanity. The poor, the ...
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Copyright© 2003 BLACK ROSE BOOKS No part of this book may be reproduced or transmitted in any form, by any means electronic or mechanical including photocopying and recording, or by any information storage or retrieval systemwithout... more
Copyright© 2003 BLACK ROSE BOOKS No part of this book may be reproduced or transmitted in any form, by any means electronic or mechanical including photocopying and recording, or by any information storage or retrieval systemwithout written permission from the ...
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PERFORMING NOSTALGIA Some modern performances of Shakespeare are faithful reproduc- tions of the past, and others are determined to counter or rewrite it. Performing Nostalgia is an account of contemporary productions of Shakespeare in... more
PERFORMING NOSTALGIA Some modern performances of Shakespeare are faithful reproduc- tions of the past, and others are determined to counter or rewrite it. Performing Nostalgia is an account of contemporary productions of Shakespeare in the context of an almost ...
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Not only has his music integrated new sounds––from Venezuelan drumming to South African accordion and harmonium and the self-made hubkaphone to a rich variety of worlds musics that encompass Bali, India, Japan, South America, and... more
Not only has his music integrated new sounds––from Venezuelan drumming to South African accordion and harmonium and the self-made hubkaphone to a rich variety of worlds musics that encompass Bali, India, Japan, South America, and Africa––Threadgill’s music has also reflected on and fully absorbed avantgarde classical musics, but also the music of Scott Joplin and Jelly Roll Morton. In the latter case when you hear Air playing standards from these composers on Air Lore, the depth of insight into what they had to say and how they remain relevant in the here and now is profoundly moving and revelatory. Threadgill’s music is full of unexpected energies, melodic angularities that take us in new directions, kinetic pulses that unleash cumulative imaginative forces and passions that mark truly great music.
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A review of Sindbad: From the Tales of the Thousand and One Nights , retold by Ludmilla Zeman.
Research Interests: History and Orientalism
canadienne d'études de la Renaissance; Pacific Northwest Renaissance Society; Toronto Renaissance and Reformation Colloquium; Victoria University Centre for Renaissance and Reformation Studies This document is protected by copyright... more
canadienne d'études de la Renaissance; Pacific Northwest Renaissance Society; Toronto Renaissance and Reformation Colloquium; Victoria University Centre for Renaissance and Reformation Studies This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/
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Page 1. THE WORK OF OPERA Genre, Nationhood, and Sexual Difference RICHARD DELLAMORA & DANIEL FISCHLIN, EDITORS Page 2. Page 3. The Work of Opera This One Z7F8-YAZ-XAPA Page 4. Page 5. The Work of ...
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Abstract:This essay explores how the social practices associated with musical improvisation engage cocreative forms that catalyze resilience and mobility as conjoined expressions of the human. These improvisatory forms, in turn, provide a... more
Abstract:This essay explores how the social practices associated with musical improvisation engage cocreative forms that catalyze resilience and mobility as conjoined expressions of the human. These improvisatory forms, in turn, provide a radical way of modeling new interdisciplinary methodologies, helping to diversify the ecology of knowledges in the name of living and moving on.
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Acknowledgments vii Prelude. "The Fierce Urgency of Now" Improvisation, Rights, and the Ethics of Cocreation xi Introduction. Dissolving Dogma: Improvisation, Rights, and Difference 1 1. Sounding Truth to Power: Improvisation,... more
Acknowledgments vii Prelude. "The Fierce Urgency of Now" Improvisation, Rights, and the Ethics of Cocreation xi Introduction. Dissolving Dogma: Improvisation, Rights, and Difference 1 1. Sounding Truth to Power: Improvisation, Black Mobility, and Resources for Hope 33 2. Improvisation and Encounter: Rights in the Key of Rifference 57 3. Improvising Community: Rights and Improvisation as Encounter Narratives 99 4. Improvisation, Social Movements, and Rights in New Orleans 141 5. Art to Find the Pulse of the People: We Know This Place 171 6. "The Fierce Urgency of Now": Improvisation, Social Practice, and Togetherness-in-Difference 189 Coda 231 Notes 245 Works Cited 263 Index 281
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... various analytic models for the literary study of the ayre through close readings of its lyrics; to define the key thematic and structural elements in the genre in relation to the distinctive features of the late-Elizabethan and... more
... various analytic models for the literary study of the ayre through close readings of its lyrics; to define the key thematic and structural elements in the genre in relation to the distinctive features of the late-Elizabethan and early-Stuart aesthetic out of which the ayre was created ...