Using a blend of physical theatre, shadow puppetry and projections, Rootless traces the path of a young woman cut off from the land she loves. As an outsider in her new home and facing loss, she travels through a world of dreams, djin, talking animals, a mermaid in the desert, and the moon to find solace . . .
Through the lens of her real-life experiences with cancer, poet and playwright Priscila Uppal(6 Essential Things, Factory Theatre) creates a magical and uplifting theatrical dialogue between two old friends in the new play What Linda Said. . . .
Diaspora Dialogues is pleased to announce it will co-present a few events at the 2017 Spur Toronto festival. We have also programmed a number of established and emerging poets and spoken word artists to open various panels . . .
I am used to tight deadlines and working under pressure. I am also a complete workaholic. I think the playwright program will allow me to allocate more time to myself and my writing, and give me the space to wrestle with big ideas on and off the page . . .
Becoming a Diaspora Dialogues mentee and working with Shani Mootoo is a dream come true. In my creative writing training so far, I have often found myself stranded in classes and spaces that privileged white and straight perspectives . . .
The feedback I’ve gotten from my previous instructors is that I need to “step into” my pieces more deeply. With my mentor I want to learn how to set up great scenes but also ones that carry a depth of meaning . . .
The goal is to walk away with a final draft by the end of the program as such, to have my work reviewed by professionals in the industry is critical. Feedback on its creative and structural elements further improves my ability as a writer and the quality of my existing draft, through subsequent edits . . .
Late last year, I took a leave of absence from my Ph.D in History and began living as a writer. As part of this transition, I began journaling regularly and revisiting past journal entries dating as far back as to when I was 14 or 15 years old . . .