Ulla Laidlaw’s thoughts, impressions and ideas for the making of the film Stray.Read More
Theatre Conspiracy received a lot of reaction to the pilot episode of Victim Impact: The Fraudcast – from listeners, victims, lawyers and journalists involved in the case.
But one response on Twitter asked that salient question that should come at the beginning of any theatrical or journalistic endeavour: "Why this story, now?"Read More
How deep can a fraud go? Tim Carlson – writer and host of Victim Impact: The Fraudcast – discusses the impetus behind our podcast series about one of the largest fraud schemes in Canadian history and how tunnelling ever deeper into the layers of the case altered his perceptions of victims, criminals and human nature.Read More
Writer/Producer Tim Carlson discusses the challenges of creating Victim Impact, a documentary theatre piece about BC's largest fraud scheme, which looks at the fallout for those affected as they got sucked into the vortex of civil and criminal trials.Read More
Part reading circle, part documentary, and part handmade art object created from the ruins of an Oxford Dictionary, Soliloquy in English is a book for multiple voices about the language that connects them.
In each performance, Vancouver-based artist Patrick Blenkarn invites a small group of readers to participate in reading the book out loud, passing it from hand to hand and voice to voice. In doing so, the readers bring to life a collage of stories—interviews with the artist's friends, family, and mentors—about what it means to share and live in the English language today—the dreams it makes possible and the marks it can leave behind. Soliloquy in English is Blenkarn’s attempt to pull this lingua franca back upon itself, to get us talking about how we are talking.Read More
We asked Milton Lim five questions about his new piece okay.odd., which premieres at the rEvolver Festival May 12 - 21, 2016 at the Cultch. Milton is also an artistic associate at Theatre Conspiracy.
Based on the tenets of concentration, mindfulness, and visualization, okay.odd. is a multimedia meditation session that guides you through a stream of consciousness. It traverses the space between thought and perception; knowing and unknowing; real and imagined; proximal and tangential.Read More
IN THE PAST FEW WEEKS, I've read a stellar novel, an amazingly detailed investigative piece, and now a shattering memoir about what happens when the machinery of fighting terrorism grinds innocents into victims. This subject is at the heart of Theatre Conspiracy's new play, Foreign Radical.Read More
Foreign Radical is a game so of course competition drives the piece. The heart of it, however, is something far more complex: the collective story of each audience that gathers to play.
Each show is radically different depending on who shows up. They leave the theatre (in this case, shipping containers) knowing each other quite intimately — for people who just met an hour before. They have profiled each other, spied on each other, debated in teams, raced each other to the finish line and shared some empathy or disdain.Read More
Foreign Radical is not a video game, board, or schoolyard sport. It’s a game that happens in a radical theatrical environment where your feet are your joystick and your thoughts and motivations are the buttons to take action. You can be in the driver’s seat of political activism, or take the nearest exit off the infobahn as you consider the repercussions of your public cries for freedom.Read More
If you attended Theatre Conspiracy’s previous documentary-style theatre show, Extraction, you might recall that the audience was asked a similar series of content-related survey questions throughout the performance. This time we’re taking questions into new territory through audience inclusion and significant consequences — Foreign Radical will concurrently operate as both a documentary theatre piece and an immersive game. As audience members, you are no longer observing, you are the players of the game.Read More
In her research for Foreign Radical, Kathleen read the book This Machine Kills Secrets and came across a party game that cryptographers played while inventing encryption techniques that would soon become industry standard (onion routing, torrents). These radicals were inventing the building blocks of secure communication, file sharing, e-commerce and, of course, whistle-blowing.
In the game, players wrote a secret on a piece of paper, put it in a sealed envelope and then routed the envelopes between individuals who either sought to maintain or expose the secret.
For Foreign Radical, we are adapting the game because it has great potential for theatrical application and audience interactivity:Read More
On the 5th anniversary of Club PuSh,we ask Club artists five questions.
Tanya Marquardt has worked with various forms including theatre, dance, site-specific installation, performance art, noise music and poetry. In mixing forms she finds something new and unexpected, something that she wants to share with her community, colleagues and friends.Read More
My wife and I are at the opening of the PuSh International Performing Arts Festival, 10th anniversary edition, and PuSh founding board member Jane Heyman has asked us all to introduce ourselves to a stranger by telling them about our connection to PuSh. I’m talking to a group, some I know and some I don’t, about my wife Lainé Slater’s ambition, with colleague Norman Armour, to help to build a Vancouver international theatre festival. Lainé was eight months pregnant. Maybe she was joking about her near-term future when she suggested the word “push” to Norman as a possible name.Read More
Club PuSh opens tonight — the fifth program of new performance that thrives in a bar environment — as part of the PuSh International Performing Arts Festival, which celebrates its 10th anniversary this year.
PuSh has made a lot happen in a decade, growing from a trio of presentations in 2004 drawing an audience in the hundreds to a program of 30, including those at the Club in 2014. Last year, PuSh attendance hit 34,000.Read More