Performances from March 21 to 24, 2019
with a special RSA performance on March 19
Location: Luella Massey Studio Theatre
Address: 4 Glen Morris St
The urban landscape of The Dutch Courtesan presents London as a city that prides itself on being multicultural and cosmopolitan while also feeling deeply anxious about the place of ‘strangers’ within its urban landscape. The main plot deals with the treatment of a foreign sex worker whose otherness is partly established through her accent; the sub-plot follows two members of a distrusted religious minority as they are tricked and abused, presumably for the audience’s entertainment. The play’s concerns with otherness, gender, sex, religion, and foreignness are all tied to the context of the early 17th century, but are also powerfully resonant in 21st century Toronto. By putting scholars and actors in conversation, this workshop aims to explore both the play’s original context and its modern resonances, as well as to discover ways in which actorly and scholarly ways of knowing and articulating knowledge can extend and enrich each other.
Organizers: Helen Ostovich & Erin Julian. For Poculi Ludique Societas: Linda Phillips For CDTPS: David Klausner & Noam Lior
We wish to acknowledge that the land on which the University of Toronto operates has for thousands of years been the traditional land of the Huron-Wendat, the Seneca, and most recently, the Mississaugas of the Credit River. Today, this meeting place is still the home to many Indigenous people from across Turtle Island and we are grateful to have the opportunity to work on this land.
We also gratefully acknowledge support for this research and production from the Social Sciences and Humanities Research Council of Canada, the University of Toronto, the Centre for Drama, Theatre, and Performance Studies, Poculi Ludique Societas, McMaster University, and Edward’s Boys.
Tickets are available at:
http://www.brownpapertickets.com/event/4100335
Unfortunately, due to technical restrictions, we can only accept cash at the door.
