Scroll down to listen, read & watch introductions to each production from our directorial team.
Part One: The Philosopher's Wife / at The AKI Studio / Directed by Leora Morris
The Philosopher’s Wife offers us a fertile collision of different times and spaces, real and imaginary. We’re in an imagined Empire, yet the scenic breakdown reads: “RIGHT NOW. FEUDALISM”. It feels familiar, perhaps like our own shift from the Dark Ages to the Enlightenment, except the countries, philosophers, rulers, and ideologies don’t align with, or behave like our own. Or, do they? We're working work with a professional dog-trainer who was a consultant on the script, to understand the behavioral language of dogs. Actors and audience alike have expressed discomfort with seeing a woman in chains being trained like a dog. And yet, there are women all over the world right now in chains of every kind - literal, overt, internalized, invisible. In the era of the Trump-presidency, the resignation of Albert Schultz, and the #metoo movement, this play offers a theatricalized opportunity to look at the systems underneath sexism and the patriarchy.
Part Two: The Scavenger's Daughter / at Buddies in Bad Times Theatre / Directed by ted witzel
20 years after The Philosopher's Wife ends, we re-enter The Empire as a now destroyed landscape. ted witzel plunges us into a mechanized world, where five soldiers struggle to survive war and toxic masculinity. To best capture his vision for the work, ted made you this video.
“We can practice being together again tomorrow.” Is a line from The Philosopher’s Wife Tereza says to everyone the first time she brings the wife in on a leash. It’s my starting point as the director of Four Sisters, co-leading a cast of 10 women who come from all over the age, race, artistic, cultural, and economic spectrum in a piece that explores the complex ways women subjugate other women in their individual struggles for power.
“How do we be together?” is one of the most urgent questions we can ask each other as citizens (and all the ways we identify) on this land right here. Right now. How do we be together--within Imperial Canada, the Global North, white supremacy, within #metoo, within the collision between the world of the play and ours? Amanda are conceiving a production focused on a practice of reclamation of our hearts and female bodies from histories of devastation. We seek, along with our ensemble, to discover emergent feminine approaches to power, narrative structures, and embodied presence.”
Below: an excerpt of Amanda's previous work, multiform(s) which has toured nationally and featured at the Festival TransAmériques in 2016.