Good news! Unharvested Histories DEADLINE EXTENDED past long weekend!

GOOD NEWS for dancers, poets, musicians, film makers, students and historians who want to share lesser known histories off the page & on the stage: Staging Our Histories has extended the submission deadline for Unharvested Histories in Goderich to better accommodate our submitting artists.

Artist submissions will now be accepted until midnight on July 4th, 2016. If you haven’t already started a written or recorded proposal that outlines how you would bring #UnharvestedHistories to life on the stage or screen, you have one extra week to create material and pinpoint your technical needs. See our submission guidelines for more detailed information on what our co-organizers will be looking for when selecting pieces, and what to include in your proposal. For the 2016 event in Goderich, we’re seeking a diversity of storytelling mediums & performance styles, as well as diverse histories that matter to individuals and communities across Huron County and surrounding communities.

Prospective performers can submit early or send questions about their proposal for more detailed feedback and guidance from our co-directors. We’d love to hear from you! Email us at staginghistories@gmail.com, tweet us @stagehist or message us via Facebook.

 

 

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Playing With Ghosts: An Interview with Anuja Ghosalkar on Performing Archival Absences

Co-Director of Staging Our Histories, Arpita Bajpeyi, recently had a chance to meet with Anuja Ghosalkar, founder of the Bangalore-based theatre company DramaQueen.  Ghosalkar is also the actor-writer behind Lady Anandi, a one-woman play based on her research into her maternal great grandfather’s career as a Marathi actor and female-impersonator in late nineteenth century India. The following is an e-interview with Anuja on her work and experience crafting and performing Lady Anandi.

To begin with, you mentioned that you had an opportunity to start writing Lady Anandi as an artist-in-residence at an art lab in Stockholm . Before you began writing the piece, though, what was your experience in the archives like? What drew you there in the first place?

I have always been fascinated with archives—  during my work as a film researcher in 2005 with Rosie Thomas, University of Westminster on the early stunt film in India, I spent hours peering over newspapers from the 1930’s and 40’s at the Asiatic Library, Mumbai. I made several visits to the National Film Archives of India and there too, the smell of film and the documents I found, intrigued me. I suffered from archive fever.

Following this, I did an Oral History project on my grandfather, Ram Tipnis—the oldest living make-up artist in India at the time.  A Sarai fellowship enabled me to record his stories—a history from the periphery of cinema and its technology. The entire project is documented here: http://papaajoba.blogspot.in

During five my years at Indian Foundation for the Arts, as programme officer for the Arts Research and Documentation programme I closely interacted with archivists, academics and organized and attended conferences around documentation and the role of archives. Through this, my significant learning was, while there is some attempt at archiving in India, there is no artistic intervention within the archival spaces. To plug this gap, I, along with a colleague designed fellowships for artists to retrieve materials from archives and use it artistically. Our aim was to enable the archive, not just as a repository site but also as a site of retrieval.

Post IFA, I became an actor— a lifelong dream that I decided to pursue at 34! It was during my early days as an actor, that I had the idea to use material from my family archive. I wanted to tell a story that meant something to me, rather than work with a pre-written text. Thus, I decided to work on the story of my great-grandfather—a female impersonator in late 19th century Marathi theatre. But he was absent from the archive and my archival excavation was drawing dust.

That led me to the question— can the archive be site of omission as well?

One of the things I loved about Lady Anandi was how you used the medium of the play to call attention to the distance between yourself and the scenes featuring your great grandfather. You read from scripts and wove stage directions into the scenes themselves – though the latter is something you did in scenes featuring your character, Lady F, as well. Can you elaborate on your choices in using, and pushing, the boundaries of your medium? Was that something that developed as you wrote the piece, or as you performed it? 

At the end of my residency, I had to share my text in a formal presentation. I had written the text for three actors, however I didn’t have access to actors Sweden, so decided to read all the characters myself. Since I didn’t have time to learn lines, I decided to hold the script in my hand, in case I fumble. During the “presentation” it became apparent to me that there was merit in it. While writing the script I hadn’t decided that will be “read out” rather than performed. But the more I present Lady Anandi, the more I feel holding the pages of the text are vital to create distance. And since in my mind it is unfinished, and it is a presentation, holding the papers seem only natural. Early on, while pitching the performance, I would say it is a lec-dem and I feel that in that form holding your papers in front of an audience is acceptable.

In short, that decision was made while I performed it for an audience. I think a performance can be rehearsed several times but it’s only when one does it in front of an audience, does its impact become obvious. Otherwise it’s a bit like going scuba diving in a swimming pool, the ocean is missing.

Having been a part of many mainstream plays, I feel the idea of a completed piece which is perfect, where everyone knows their lines, and is clean, does not appeal to me. In my aesthetic world, I prefer rough edges, mistakes, it really shows up the spirit of exploration. I do not mean that rigour is compromised, I simply mean that some part of the puppeteers strings show.

You use projections of archival photographs of your great grandfather throughout the play, often projecting them onto your own body. Like him, you slip fluidly in and out of differently gendered bodies throughout the play. It’s no surprise you premiered Lady Anandi at the Gender Bender theatre festival presented by the Goethe-Institut with Max Mueller Bhavan and the Sandbox Collective! Can you speak a little on your use of these photographs, your body, and the place of gender in the play?

Gender is central to the performance. I always knew that my great grandfather had a theatre company and he played female characters. But it was while working with a German dramaturg on Virginia Woolf’s text A Room of One’s Own, I thought about creating a performance on him. In Woolf’s text she writes about Shakespeare’s imaginary sister, Judith—would she have been given the chance to be a playwright? Or would she be married off? That had me question my place me in theatre, the roles I was given, the lines I was made to say. The responses I received when I decided to be a full time theatre actor at 34! Deeply uncomfortable with my insights, I decided to create a performance that meant something to me—two actors, separated by 100 years, one who plays women characters convincingly, the other, me, struggling to stand like lady.

I looked at family albums, one aunt had three photos, the other a few more. It was becoming apparent to me that he was absent from theatre history. In the stories I had heard of him growing up, he seemed like a hero, who played both male and female characters with ease, received critical acclaim, drank five litres of milk a day, loved wrestling. Could these stories be made up to feed my young imagination? Was he an apparition? If not, why was he missing from the archives?

But I found twenty odd photos of him. The decision to use photos was something I made right at the start of the project. That was the only real material I had. The more I looked at the photos, the more connected I felt to him. I could see him and touch him. And as I an actor, touching that image, however ephemeral, makes it tangible for me.

I believe that the body is an archive of the past as well, of what we have experienced, suffered, endured and it holds stories of our ancestors. And as an actor, I wanted to capture those images on my body.

I am interested in looking at the photo archive and its relation to the body as an archive and I put myself at the centre of it. Me, with my imperfections and the photos in all their regality and finesse.

Who is ‘Lady F’? How did you use her to situate yourself within the play? Or was she a vehicle for you to say something else, maybe address a gap that needed some attention within the work or the context/dialogue you see the play functioning in?

Yes, you are absolutely right, she is a vehicle for me. In theatre we love narrators, someone who pieces it together—Lady F is that character, except that she cannot give us a complete picture. I have often been asked is Lady F different from Anuja? Why not just say Anuja? Lady F is certainly NOT Anuja, she is the person who sees the ghost of her great grandfather every time she goes up on stage, Anuja doesn’t see ghosts, she writes about characters who do. A lot of theatre veterans said to me in the early stages of this project, “why should I listen to your story?”, “why is the personal so important for us to watch on stage, pay money for it?”  Therefore I created Lady F (F for Fuck Off, if you will, or F for Female).  But I do not “play act” Lady F, she is natural, urban, can answer questions, talks about process. Anuja later tells her how the show went, scolds her if she got a delivery wrong and so on.

 

When I had the chance to see Lady Anandi, you prefaced your performance by saying that this was a work in progress. After the show, you welcomed questions, critiques and comments from the audience. What has it been like to perform the piece for audiences as a work in progress? What has come out of this process for you, so far? 

It has been a very rewarding experience sharing this unfinished work. It makes me vulnerable as a performer and creator but it also emboldens one’s choices. It ties back to my earlier point about scuba diving in a pool—the audience is one of the most vital elements of a performance for me. Several people have said to me after the show, “thank you for making us feel important, as if what we say really counts. Otherwise we are shown work after it is completed.” The audience, especially in Delhi at S-47 Panchsheel Park, was rigourous in their feedback. They engaged with the process, with the research. They were progressive enough to say “you don’t need a director”, “it is unfinished only because you say it is, we felt it is complete”. Showing it to the audience has given me courage!

I also like the performative element of the Q& A— I sit there, someone asks me something terribly important. There is a shot in Godard’s Breathless where he shows a press conference and the inanities of it. I love it. But on a serious note, one audience member came and said to me, we are as vulnerable as you are, sitting there, trying not to hurt you, but say something that will add value to the project.

To reiterate, I really enjoy the feedback process, it teaches me a lot. And in the absence of a director, who critiques the show, the audience’s response fulfills that.

You wrote, above, that your research led you to question whether the archive can be a site of omission. I think for a lot of us who delve into the (institutional) archives, particularly when we’re looking for histories that tend to be marginalized by text and assumptions about the kinds of narratives that should be preserved as history, we find more gaps and silences than stories. What are your thoughts on encountering these absences in the archives and, more generally, history? How can we use the body as an archive, as you put it to respond to these?

This is a complex question to respond to. In my case, given that I had very little information on my great grandfather, I had to turn to my own body. And I felt that there may be some continuity there, in the stories or memories we physically carry. I think as performers, we can turn to our bodies for some sort of a response, either by juxtaposing our bodies with material we find or simply occupying space, where archival material is absent. For a filmmaker, academic, her relationship to that missing archive might be different. So I cannot comment about it in general terms but I guess what I am trying to say is that in our search for that missing archive, our relationship to the scant materials or tools we use to mediate it, is of great significance. Also, in Lady Anandi, the quest to find the material is what audience members enjoy watching. This leads me to believe that, the endeavor to fill the gaps is as vital an act, as finding that material.

My thought on history— I am not sure I am qualified to answer it. But I’ll attempt it. It is that the more personal, un-institutional voices that write it, tell it, the better it might be. I am a bit skeptical of a grand historical narratives. I prefer the fragmented, disjointed versions of it.

Many thanks for taking time out of your busy schedule for this, Anuja! We look forward to following your work, and seeing Lady Anandi in Bangalore again in July.

 

Anuja Ghosalkar is a theatre actor, writer and director based in Bangalore. Drama Queen, her theatre company, is evolving a unique form of documentary theatre in India. Anuja has worked with theatre directors including Atul Kumar, Abhishek Majumadar, Kirtana Kumar and Arundhati Raja. She teaches theatre to young adults and children across Bangalore through Jagriti and Ranga Shankara. When not doing theatre, she works on Experimenta, a festival of moving image art in India. In the past, Anuja has worked as a programme officer at India Foundation for the Arts, in film research, curating, writing and teaching cinema. Recently, she was an artist-in-residence at Art Lab Gnesta, Sweden, where she wrote Lady Anandi.

You can follow Anuja on her Facebook page, Drama Queen, and on her website: www.drama-queen.in.

 

Staging Our Histories Returns in 2016

The co-organizers of Staging Our Histories are pleased to announce that histories off the page will once again be taking the stage in 2016!

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In October 2016, Staging Our Histories comes to Goderich, Ontario on Lake Huron.

Future editions of Staging Our Histories will take place in new locations across the world, providing a platform for new and established local artists to present their diverse perspectives on unwritten histories. Our next live performance event and film screening will be the weekend of October 15th, in Goderich, Ontario. Thank you to our venues, the Livery theatre and the Huron County Museum, as well as the Huron Arts and Heritage Network for acting as our local partners in 2016.

In addition to returning artists from 2015, we’ll be welcoming original submissions from new dancers, storytellers, poets, playwrights, and filmmakers, especially those exploring the lesser known histories and communities of rural Ontario. Look for our call for submissions and further details about this year’s theme in the coming days! Follow us on Twitter and Facebook for up-to-the-minute updates and news about other exciting projects near you that take history off the page.

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Artists talkback at the 2015 Staging Our Histories at the National Arts Centre in Ottawa.

Questions about this year’s event? Contact us at staginghistories@gmail.com

Photo credit: Nazes Afroz

Students Bring History Alive in Kolkata’s South Park Street Cemetery

Last December, Think Arts and students from schools across Kolkata, India, opened a temporary exhibition at the South Park Street Cemetery. In the coming weeks, a new batch of students will have the opportunity to bring history to life in their own way in the same space. Read on to learn more about the project. (Feature image photo credit: Nazes Afroz)

The South Park Street Cemetery in Kolkata is one of those iconic spaces in the postcolonial world that whispers to passersby of a very different time and place. The weathered, mossy stones now interrupted by trees and plant life that have had centuries to stretch their limbs invite you see the cemetery as an artefact of the past with little bearing on the bustling city outside its walls. Though largely forgotten by residents of Kolkata, it still has a pull for some people, like Ruchira Das. “Every time I visited the South Park Street Cemetery in Calcutta, I have been moved by the gravity of the place. Not having grown up in Calcutta, I discovered this fascinating place quite by accident, during one of my visits to the city.”

But Das, founder of Think Arts – an organization geared to engage children with the world around them through the arts, in unconventional ways – was also keenly aware of the kind of history that the cemetery represented in the city’s past. “After I moved to Calcutta a few years ago,” she writes, “I got a chance to spend a lot more time at SPSC and was struck by the fact that the cemetery was in use during one of the most interesting periods of Calcutta’s history (1767 – 1830) – it was during this period that Calcutta was named the capital of British India, the Asiatic Society was founded, the Bengal Renaissance took its roots and the city saw several such significant events.”

Upon realizing that many of the city’s residents, including children like those at a school just a couple hundred meters away from the cemetery, had never entered the space, Das approached the Christian Burial Board, under whose management the cemetery fell.  The board mirrored her concern about the lack of public engagement with the space.

“Paradoxically enough, it was in a cemetery that the pages of history came alive for all of us.”

Das proposed a project wherein school children would spend six months researching and exploring the narratives buried in the site to develop an exhibition called ‘Our History, Their Times.’ The project was designed to encourage students to think about the spaces and stories that surrounded them through art forms they were familiar with: “Retracing a city’s history and presenting it using their [students’] forms of expression can be an involved, exciting activity with a tremendous scope for learning – learning outside textbooks.” For Das, the installations, which ran from the 7th to the 13th of December, 2015, represented a critical understanding and response to the histories to be found in the South Park Street Cemetery – an engagement that was as much about the form as the content in the physical pieces themselves. This emphasis on the value of art as an active site of learning is something Das believes in firmly, and was a driving factor behind the project. In her concept note on the project, she expressed a need to ensure “that the youth is involved in critical thinking – of investigating history, discovering stories, examining perspectives and questioning the accepted.”

The students, grades eight to eleven, came from schools across the city. They were captivated by the romance of the cemetery from the start. Reflections on their first visit to the site highlighted the picturesque beauty of the space, but also revealed a curiosity of the stories that lay behind tombstones and beneath their feet. “I thought that the cemetery was exquisite, but beauty certainly isn’t skin deep,” wrote one student. “The visit gave me the opportunity to make my way deeper into the stories of the people who lay there, and introspect on the lives that once were. It certainly had a great impact on me.”

The project was a huge success, both among participants and with members of the general public who poured visited the exhibition last December. Over the six months of the project, students explored the histories of individuals associated with and interred at the site, as well as those of the nameless Indians and Europeans who lived in Calcutta during that period. Working in groups with help from visual artist Nobina, and professor of English, Dr. Sudip Bhattacharya, students produced a number of different responses to the space, and explored various themes to bring the history of their city to life within the walls of the cemetery. Sunita Biswas, a teacher at Modern High School for Girls was as enthusiastic as her students about the project: “It’s been a wonderful learning experience for the entire team…teachers and students. It gave them a better understanding of Kolkata and its past. Paradoxically enough, it was in a cemetery that the pages of history came alive for all of us.”

Thanks to Ruchira Das and her students, the South Park Street Cemetery was bustling with live bodies for the duration of the exhibition, which brought in residents of the city from all walks of life who were curious about the colourful displays scattered between the trees and tombstones. “Our History, Their Times” was such a success that the Christian Burial Board has asked Das to facilitate the project again this year with a new group of schools. They will be starting their research and work on their projects in the coming weeks, and open up the cemetery gates for a second exhibition in December, 2016.

You can learn more about Ruchira Das and her organization, Think Arts on her Facebook page, http://www.facebook.com/thinkartskolkata/.

Acknowledgements

One week ago, the first-ever Staging Our Histories featured seven extraordinary stories examining the past and its repercussions in the present, performed live to a full house at the National Arts Centre’s Fourth Stage. We are very thankful to the talents of our performers and our superb host, Adrian Harewood, for making the evening enthralling & unforgettable.

There were many people who made Staging Our Histories possible, however, that you didn’t get a chance to see on stage. The co-directors would like to thank the following individuals for their support and their valuable time, as well as all other colleagues and friends who supported and promoted the event:


To our core volunteer team, who have been a vital part of Staging Our Histories from almost the beginning, we owe a huge debt of gratitude for everything they contributed behind-the-scenes during our months of planning, and the huge amount of work they did on May 31st!

Kathryn Boschmann, for taking time out of a busy week to run communications for us on Sunday

Matthew Moore, for learning to be our stage manager in one afternoon and doing a fantastic job

Christina Parsons, for being an mvp & making sure everything was where it was supposed to be, when it was supposed to be there


Tannis Price, our dedicated & talented photographer who tirelessly documented the whole day


Christopher Chaban, for his constant assistance, including crucial door-holding, on May 31st


For their generous help with running errands & being all the places we couldn’t be, and/or clean-up after the reception…

Sujata & Arvind Bajpeyi

Alex Wilkinson

Erin Gurski & Michael Chiarello

Vinayak Bansal, Anusha Jahagirdar, Zahir Bakhari, Saumya Bansal, Fizza Ahmed SheikhLeah Teichroeb & Meagan Barnhart


Jenny Srour, for kindly offering to watch the young son of a performer so she could participate in our talk-backs

Marissa Romano, for opening her home to our performers


For donating tickets…

Sharon & Laurie Cox

Siobhan Falconer


For generous donations of food, drinks or gifts…

Bridgehead

David’s Tea

Pure Kitchen

Stella Luna Gelato Cafe

ZaZaZa Pizza


Our caterers…

Kettleman’s Bagels, for our rehearsal lunch

Johnny Farina, for our reception sandwiches


Our Printers…

Merriam Print


David Dean, for his support & the donation of his book History, Memory, Performance 

James Opp & John Walsh, for their guidance on behalf of the CCPH


Our Sponsors

Carleton University’s Department of History

The Carleton Centre for Public History

Carleton University’s Faculty of Arts and Social Sciences-Office of the Dean

The National Arts Centre‘s Fourth Stage

Two Days until Staging Our Histories! Why we Can’t Wait

Excited for history to take the stage? You’re not the only one. Don’t take our word for it; check out why Ottawa, as well as the arts & academic communities at large, is psyched for history (a)live and off the page THIS SUNDAY! Get your tickets

Tweet us why YOU are excited for Staging Our Histories:  @stagehist

7 Reasons to Experience History off the Page

Although math is not her strong suit, Co-Director Sinead Cox lists her top seven reasons to snag tickets for History (a)Live: 

ONE: THE TALENT                                                                                  StaginOurHistories

Our performers are multi-talented artists, storytellers, poets and filmmakers, and they actually constitute eight great reasons to be at the National Arts Centre on May 31st. Staging Our Histories brings this group of diverse amateur and professional artists together in the same room for the first (and probably only) time. Their artistic voices and perspectives on history are entirely original and distinct, but their pieces complement each other by asking similar questions about identity, memory and legacy.

TWO: IT’S NOT THE HISTORY YOU READ IN SCHOOL

Our organizers are interested in how stories and memories change across different mediums, and how performance can be a powerful platform for unwritten or unrecorded histories. Each of the seven histories presented on stage on May 31st is personal and revelatory, and interrogates how we share and forget the past on and off the page.

THREE: IT’S A PARTY

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Ticket-holders for Staging Our Histories are invited to a reception following the performances. There will be refreshments, snacks, and a chance to mingle with the performers and organizers.

FOUR: YOU CAN BE PART OF HISTORY

Staging Our Histories is a conversation, not a lecture. The evening’s discussion of performative histories will extend beyond the stage, as host Adrian Harewood moderates talkbacks between the artists and the audience. We hope theatre-lovers, students, historians, and just about everyone else, will be inspired by the convergence of history and performance, as we continue to be.

FIVE: THERE’S A CHANCE TO GET IN FOR FREE!

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You can win tickets to Staging Our Histories, and a copy of History, Memory, Performance, just by tweeting your favourite history experience to @stagehist with the contest hashtag #mylivehistory. 

SIX: RIGHT TIME, RIGHT PLACE

Staging Our Histories happens at ‘Canada’s Stage’, the National Arts Centre, in lovely downtown Ottawa. It’s conveniently close if you’re in town that week to attend the 2015 Congress of the Social Sciences and Humanities at the University of Ottawa, or you’re taking part in the Walk for Reconciliation, also on May 31st.

SEVEN: THE (HISTORY) A(LIVE) TEAM

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Once again, this is six good reasons for the price of one. The Staging Our Histories organizers are volunteers motivated by the desire to expand public access to unconventional and thought-provoking histories. The co-directors and core volunteers are all recent grads or current students of Carleton University’s history program; they’re also keen, passionate about history, and a lot of fun to hang out with– so look for us at the reception after the show.

If you care to join us for a night of extraordinary performances, you can GET TICKETS NOW at the NAC’s box office.

Need another reason? Contact the co-directors with any questions at staginghistories@gmail.com!

#MyLiveHistory: Tweet your kind of history, Win Free Tickets

WIN by sharing your favourite experiences of history off the page!

Become a #twitterstorian and tweet original photos or video links of your favourite way to  experience history a(live) to @StageHist with the contest hashtag #mylivehistory, before May 29th.

Contest Details: Win FREE tickets to Staging our Histories & a copy of new book History, Memory, Performance

Check out examples from our co-directors!

#MyLiveHistory: Tweet @StageHist & Win!

All the world’s a stage. What’s yours?

How do you prefer to experience stories? What captures your imagination and gets you excited about the past?  Is it museum programming? Movies? Video games? A family member that tells a great tale? A nice commemorative plaque, maybe? Something a little unconventional? How have you shared your own unique perspective on history with others? Show us! Tweet your photos of history (a)live to @Stagehist.

Staging Our Histories spotlights the ways histories are talked about, embodied, represented, remembered and forgotten off the page and outside of the classroom. Before our performers take the stage at the National Arts Centre on May 31st to express their thought-provoking histories through theatre, storytelling, film and poetry, we want to hear from you!

WIN by sharing your favourite experiences of history off the page!

Become a #twitterstorian and tweet original photos or video links of your favourite way to  experience history a(live) to @StageHist with the contest hashtag #mylivehistory, before May 29th.

On performance night, participants with the most retweets* win two FREE tickets to Staging Our Histories and a copy of History, Memory, Performance, generously donated by editor David Dean, to be presented at the reception following the night’s performances on May 31st. The runner-up will also receive a pair of tickets (kindly sponsored by individual donors).

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Contest Details

Eligible tweets will include a photo or linked video of an activity, performance, artwork, location, person etc that inspired you to experience or reflect upon the past and/or its legacy in the present. Everything from playing a video game that takes place in an alternate past, to a selfie on a historic walking tour is welcome. Tweets may be in French or English.

To be considered for prizes, all tweets must  include Staging Our Histories’ twitter handle (@stagehist) and the contest hashtag #mylivehistory. If you are tweeting about the work of another individual or cultural/heritage organization, we encourage you to tag them as well.  Entrants are welcome to submit multiple tweets. The contest ends midnight on the night of May 28th.

@Stagehist will retweet all eligible tweets. The  two tweets to receive the most total retweets** before May 29th will be the winners!*

Our first prize winner receives a copy of History, Memory , Performance, edited by Prof. David Dean (value $90) and two FREE tickets to Staging Our Histories (value $30+ tax). The runner-up receives two free tickets (value $30+ tax).  These prizes can be collected on Staging Our Histories’ performance night, May 31st at the National Arts Centre.***

The histories you tweet can be untold, unofficial and unexpected, but please make sure they are also sensitive, thoughtful and respectful. Any tweets of a graphic nature or those deemed offensive, hateful or inappropriate by the co-directors of Staging Our Histories are disqualified from consideration for the contest and will not be retweeted by @stagehist.

* In the event of a tie, Staging Our Histories’ organizing team will act as judges to vote for the winning tweet and the runner-up. The organizers’ and performers’ tweets are not eligible to win the prizes.

** For the purposes of this contest, we will count only RTs, not quoted tweets, MTs or favourites.

*** The winner must provide a full name & contact information by private message/email to collect his/her prize on May 31st.

The Box Office is Open!

On May 31st, the National Arts Centre`s Fourth Stage welcomes theatre-lovers, film buffs, students, historians, twitterstorians, and anyone who has shared or appreciated history and memory off the page.

Staging Our Histories tickets are officially on sale at the National Arts Centre’s box office! Get yours today, and be part of history a(live). A $15 ticket includes seven performances, talk-backs with host Adrian Harewood, and a reception.

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Staging Our Histories is a not-for-profit event organized by three volunteer co-directors, and supported by the Carleton Centre for Public History, Carleton University’s History Department and Carleton University’s Faculty of Arts and Social Sciences-Office of the Dean.