September 27, 2021 update on live performances and events at the NAC.

Okinum

Onishka Productions and Imago Theatre

I have always been fascinated by dreams. 

When waking up, I’ve even got into the habit of staying in that state between sleeping and waking, where it's easier to hold on to dreams – before they slip away and disappear inside my psyche.

Most of the time, what I remember are fragments. Words whispered in my ear while sleeping and whose meaning I try to decipher later, or images – like strange little films – that open new portals in the tributaries of my imagination.

I feel like these dreams help me broaden my vision.

I like to write my dreams down in a notebook, so as not to forget them and to be able to recall them to myself in due time.

I always find inspiration for my creations there.

It was in my recurrent dream of Micha Amik, the giant beaver, that the image of the dam as a poetic metaphor appeared to me. I wanted to go up the river of my DNA to better understand where I come from and the beaver became a guide in this journey.

I first encountered Émilie’s play through PWM, as part of the Interdisciplinary Writers Lab. It was at the beginning stage of creation, monologues exploring a personal story of discovery, and they were striking. Over time it has grown into a stunning play of a woman’s journey through fear to finding strength and inner courage by connecting to her ancestors, and speaking her truth. As a co-director, my focus was supporting Émilie in her quest to finding meaningful images she could explore on stage as an actor, and to rediscover how she built her play so that the depth of the journey could be communicated to an audience. This production has shown me just how much richer a rehearsal process can become when we build on each other’s ideas, and constantly seek for greater specificity in movement and storytelling. It has been a journey like no other.

Usually, it takes a while to establish a working process. For this piece, the delineation of the roles between Émilie, Emma and myself was very fluid and fell into place naturally and quickly. Input on movement, dramaturgy, text or design would often come from any one of the three of us. This removal of the hierarchical model of directing served the process and the piece well. The pentagon shaped set opened interesting challenges and wonderful, unexpected movement choices. Having the audience on five sides necessitated movement where the body fills the space in 360 degrees for the duration of the show. I wanted to have Émilie connect with the emotion and evocative imagery of the text and I used the initial small impulses that the text produced in her body as the starting point to develop the movement vocabulary for the piece.

Kwe! hOOlmah! Way’! Salut! Hello!

We are still here! And looking forward to welcoming you to Indigenous Theatre’s 2021-2022 season! A season of powerful, compelling art to bring a spotlight to the issues, experiences, and realities of Indigenous people, highlighting the vibrancy, diversity, beauty and the strength of our cultures from coast to coast to coast. 

In addition to powerful productions, Indigenous Theatre invites audiences to experience Indigenous stories and culture through in-person and online free events; to witness and participate in the opportunity for enhanced mutual understanding and respect to build new relationships of trust and possibilities. And in honour of the new national holiday, the National Truth and Reconciliation Day, from September 27-30, Indigenous Theatre will host online events, activities, workshops, and panels.  

Our stories are medicine. We cannot change the past, but we can learn from it. We can move forward in a spirit of openness, generosity, and healing, to honour those who have come before and empower the future.”
Kevin Loring, Artistic Director

We offer our thanks to and acknowledge the host Algonquin Nation, whose generosity and openness inspire us every day.

— Kevin Loring, Lori Marchand and the Indigenous Theatre Team

Indigenous Theatre Team

Kevin Loring – Artistic Director  
Lori Marchand – Managing Director  
Lindsay Lachance – Artistic Associate (on leave)  
Samantha MacDonald – Producer  
Sage Nokomis Wright – Associate Producer  
Mairi Brascoupé – Indigenous Cultural Resident 

Kerry Corbiere – Education Coordinator  
Alyssa Coghill – Education Assistant  
Spike Lyne – Technical Director  
RJ Mitchell – Assistant Technical Director  
Jenna Spagnoli – Marketing and Communications Officer


Artists

Artists

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    Playwright, Co-Director & Performer Émilie Monnet
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    Co-directed, Dramaturg & Direction of Performers Emma Tibaldo
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    Co-Director & Choreographer Sarah Williams
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    Lighting Designer Lucie Bazzo
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    Production Stage Manager Luciana Burcheri
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    Video Designer Clark Ferguson
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