Brenda Vellino | Carleton University (original) (raw)
Papers by Brenda Vellino
Studies in American Indian Literatures
Theatre Research in Canada, 2017
Sahtu Dene Metis theatre artist Marie Clements’s and settler photographer Rita Leistner’s intercu... more Sahtu Dene Metis theatre artist Marie Clements’s and settler photographer Rita Leistner’s intercultural and multi-media collaboration The Edward Curtis Project (TECP) explores the tense negotiations between settler and Indigenous characters who are brought together from different time frames through an Indigenous concept of fluidly intersecting temporalities (McVie). Clements re-appropriates the American photographer Edward Curtis’s strategy of asking his Indigenous subjects to re-enact banned rituals and ceremonies; she thus stages Curtis as a settler avatar re-enacting scenes from his past that often involve confrontations between himself and numerous historical and contemporary Indigenous subjects. In her discussion of the production, Brenda Vellino first establishes the broader theatre studies context for the conflict transformation possibilities presented by TECP. Its intercultural rehearsal of relationship renegotiation may be read as essential for substantive redress between ...
Theatre Research in Canada, 2017
Sahtu Dene Metis theatre artist Marie Clements’s and settler photographer Rita Leistner’s intercu... more Sahtu Dene Metis theatre artist Marie Clements’s and settler photographer Rita Leistner’s intercultural and multi-media collaboration The Edward Curtis Project (TECP) explores the tense negotiations between settler and Indigenous characters who are brought together from different time frames through an Indigenous concept of fluidly intersecting temporalities (McVie). Clements re-appropriates the American photographer Edward Curtis’s strategy of asking his Indigenous subjects to re-enact banned rituals and ceremonies; she thus stages Curtis as a settler avatar re-enacting scenes from his past that often involve confrontations between himself and numerous historical and contemporary Indigenous subjects. In her discussion of the production, Brenda Vellino first establishes the broader theatre studies context for the conflict transformation possibilities presented by TECP. Its intercultural rehearsal of relationship renegotiation may be read as essential for substantive redress between ...
Law, Mystery, and the Humanities, 2008
The Canadian journal of native studies, 2018
Theatre Research in Canada
Sahtu Dene Metis theatre artist Marie Clements’s and settler photographer Rita Leistner’s intercu... more Sahtu Dene Metis theatre artist Marie Clements’s and settler photographer Rita Leistner’s intercultural and multi-media collaboration The Edward Curtis Project (TECP) explores the tense negotiations between settler and Indigenous characters who are brought together from different time frames through an Indigenous concept of fluidly intersecting temporalities (McVie). Clements re-appropriates the American photographer Edward Curtis’s strategy of asking his Indigenous subjects to re-enact banned rituals and ceremonies; she thus stages Curtis as a settler avatar re-enacting scenes from his past that often involve confrontations between himself and numerous historical and contemporary Indigenous subjects. In her discussion of the production, Brenda Vellino first establishes the broader theatre studies context for the conflict transformation possibilities presented by TECP. Its intercultural rehearsal of relationship renegotiation may be read as essential for substantive redress between ...
Home-work: postcolonialism, pedagogy, and …, 2004
We who live in fortunate lands where we have inherited good things... are prone to accept freedom... more We who live in fortunate lands where we have inherited good things... are prone to accept freedom, the most important of these good things, with an indifference which is the greatest threat to its continuance.
Law, Mystery, and the Humanities, 2008
Studies in Canadian Literature/Études en littérature …, 2007
Central to much of the political poetry of the 1930s is an aesthetic of the differential field, t... more Central to much of the political poetry of the 1930s is an aesthetic of the differential field, through which we read poems not only as discrete objects but also as varied contributions to collective discourses. … Many of the meanings poems acquire are granted through critical prose. Without these supplementary meanings the poems themselves may be strangely silent or substantially curtailed.
Studies in American Indian Literatures
College Literature: A Journal of Critical Literary Studies, 2013
despite the limitations of imaginative reconstruction, in this article we seek to engage the mult... more despite the limitations of imaginative reconstruction, in this article we seek to engage the multiartist process that led to the convening of the intercultural creative team, the training of the artists, the development of the play, and the performances of The Gull.4 Through its staged negotiation between Japanese, Japanese Canadian, and North American theatre artists; its bilingual production in Japanese and English; and its multiple modalities of stylized Noh and Western dramatic realism, the SNP as case study is suggestive of the contribution that intercultural theatre might make to unofficial redress practices "from below" in contemporary Canada.5 We see artistic contributions as essential to a multi-focal process that is often necessary long after official ceremonies, apologies, and reparations are over.
University of Toronto Quarterly, 2013
YAEL FARBER’S MOLORA AND COLLEEN WAGNER’S THE MONUMENT AS POST-CONFLICT REDRESS THEATER BRENDA CA... more YAEL FARBER’S MOLORA AND COLLEEN
WAGNER’S THE MONUMENT AS
POST-CONFLICT REDRESS THEATER
BRENDA CARR VELLINO AND SARAH GABRIELLA WAISVISZ
If transitional justice is “a new discipline in human rights” (Andrieu 2010), theater
is increasingly recognized as a medium in which unresolved human rights claims and transitional justice questions might be compellingly represented (Becker 2013, 14, 12). However, as Paul Rae points out, there is no one-to-one correspondence between theater and human rights (2009, 71). Yet the metaphors of theater practice
are rich indicators of their potential collaboration. Theater ofers to the artistic and production teams, performers, and audience members alike the opportunity to try out, rehearse, and stage responses to mass violence, even if the implicated societies are not ready to enact them through legislation. Theorist of transitional justice Judy Barsalou emphasizes that this work requires repeated eforts from
multiple, interdisciplinary angles as part of a long-term process (2005, 1, 8, 11). We are interested in the ways redress theater can work as an adjunct to the legal and quasi-legal mandate of oicial transitional initiatives: it can rehearse the reckoningwith human rights violations and/or their aftermaths; create rituals of grief and mourning; contribute to the countermemory archive; imagine what coexistence
or reconciliation might look like between former antagonists; and function as a microcosm of complex negotiations between victim/survivors, perpetrators, bystanders, and/or beneficiaries. Playwrights responding to human rights violations
or to transitional justice efforts often point to unresolved issues in excess of institutional mechanisms of social redress. At one and the same time, they evoke what commissions and tribunals cannot do and the necessity of doing redress work into the future.
COLLEGE LITERATURE: A JOURNAL OF CRITICAL LITERARY STUDIES 40.3 Summer 2013
Print ISSN 0093-3139 E-ISSN 1542-4286
© West Chester University 2013
Studies in American Indian Literatures
Theatre Research in Canada, 2017
Sahtu Dene Metis theatre artist Marie Clements’s and settler photographer Rita Leistner’s intercu... more Sahtu Dene Metis theatre artist Marie Clements’s and settler photographer Rita Leistner’s intercultural and multi-media collaboration The Edward Curtis Project (TECP) explores the tense negotiations between settler and Indigenous characters who are brought together from different time frames through an Indigenous concept of fluidly intersecting temporalities (McVie). Clements re-appropriates the American photographer Edward Curtis’s strategy of asking his Indigenous subjects to re-enact banned rituals and ceremonies; she thus stages Curtis as a settler avatar re-enacting scenes from his past that often involve confrontations between himself and numerous historical and contemporary Indigenous subjects. In her discussion of the production, Brenda Vellino first establishes the broader theatre studies context for the conflict transformation possibilities presented by TECP. Its intercultural rehearsal of relationship renegotiation may be read as essential for substantive redress between ...
Theatre Research in Canada, 2017
Sahtu Dene Metis theatre artist Marie Clements’s and settler photographer Rita Leistner’s intercu... more Sahtu Dene Metis theatre artist Marie Clements’s and settler photographer Rita Leistner’s intercultural and multi-media collaboration The Edward Curtis Project (TECP) explores the tense negotiations between settler and Indigenous characters who are brought together from different time frames through an Indigenous concept of fluidly intersecting temporalities (McVie). Clements re-appropriates the American photographer Edward Curtis’s strategy of asking his Indigenous subjects to re-enact banned rituals and ceremonies; she thus stages Curtis as a settler avatar re-enacting scenes from his past that often involve confrontations between himself and numerous historical and contemporary Indigenous subjects. In her discussion of the production, Brenda Vellino first establishes the broader theatre studies context for the conflict transformation possibilities presented by TECP. Its intercultural rehearsal of relationship renegotiation may be read as essential for substantive redress between ...
Law, Mystery, and the Humanities, 2008
The Canadian journal of native studies, 2018
Theatre Research in Canada
Sahtu Dene Metis theatre artist Marie Clements’s and settler photographer Rita Leistner’s intercu... more Sahtu Dene Metis theatre artist Marie Clements’s and settler photographer Rita Leistner’s intercultural and multi-media collaboration The Edward Curtis Project (TECP) explores the tense negotiations between settler and Indigenous characters who are brought together from different time frames through an Indigenous concept of fluidly intersecting temporalities (McVie). Clements re-appropriates the American photographer Edward Curtis’s strategy of asking his Indigenous subjects to re-enact banned rituals and ceremonies; she thus stages Curtis as a settler avatar re-enacting scenes from his past that often involve confrontations between himself and numerous historical and contemporary Indigenous subjects. In her discussion of the production, Brenda Vellino first establishes the broader theatre studies context for the conflict transformation possibilities presented by TECP. Its intercultural rehearsal of relationship renegotiation may be read as essential for substantive redress between ...
Home-work: postcolonialism, pedagogy, and …, 2004
We who live in fortunate lands where we have inherited good things... are prone to accept freedom... more We who live in fortunate lands where we have inherited good things... are prone to accept freedom, the most important of these good things, with an indifference which is the greatest threat to its continuance.
Law, Mystery, and the Humanities, 2008
Studies in Canadian Literature/Études en littérature …, 2007
Central to much of the political poetry of the 1930s is an aesthetic of the differential field, t... more Central to much of the political poetry of the 1930s is an aesthetic of the differential field, through which we read poems not only as discrete objects but also as varied contributions to collective discourses. … Many of the meanings poems acquire are granted through critical prose. Without these supplementary meanings the poems themselves may be strangely silent or substantially curtailed.
Studies in American Indian Literatures
College Literature: A Journal of Critical Literary Studies, 2013
despite the limitations of imaginative reconstruction, in this article we seek to engage the mult... more despite the limitations of imaginative reconstruction, in this article we seek to engage the multiartist process that led to the convening of the intercultural creative team, the training of the artists, the development of the play, and the performances of The Gull.4 Through its staged negotiation between Japanese, Japanese Canadian, and North American theatre artists; its bilingual production in Japanese and English; and its multiple modalities of stylized Noh and Western dramatic realism, the SNP as case study is suggestive of the contribution that intercultural theatre might make to unofficial redress practices "from below" in contemporary Canada.5 We see artistic contributions as essential to a multi-focal process that is often necessary long after official ceremonies, apologies, and reparations are over.
University of Toronto Quarterly, 2013
YAEL FARBER’S MOLORA AND COLLEEN WAGNER’S THE MONUMENT AS POST-CONFLICT REDRESS THEATER BRENDA CA... more YAEL FARBER’S MOLORA AND COLLEEN
WAGNER’S THE MONUMENT AS
POST-CONFLICT REDRESS THEATER
BRENDA CARR VELLINO AND SARAH GABRIELLA WAISVISZ
If transitional justice is “a new discipline in human rights” (Andrieu 2010), theater
is increasingly recognized as a medium in which unresolved human rights claims and transitional justice questions might be compellingly represented (Becker 2013, 14, 12). However, as Paul Rae points out, there is no one-to-one correspondence between theater and human rights (2009, 71). Yet the metaphors of theater practice
are rich indicators of their potential collaboration. Theater ofers to the artistic and production teams, performers, and audience members alike the opportunity to try out, rehearse, and stage responses to mass violence, even if the implicated societies are not ready to enact them through legislation. Theorist of transitional justice Judy Barsalou emphasizes that this work requires repeated eforts from
multiple, interdisciplinary angles as part of a long-term process (2005, 1, 8, 11). We are interested in the ways redress theater can work as an adjunct to the legal and quasi-legal mandate of oicial transitional initiatives: it can rehearse the reckoningwith human rights violations and/or their aftermaths; create rituals of grief and mourning; contribute to the countermemory archive; imagine what coexistence
or reconciliation might look like between former antagonists; and function as a microcosm of complex negotiations between victim/survivors, perpetrators, bystanders, and/or beneficiaries. Playwrights responding to human rights violations
or to transitional justice efforts often point to unresolved issues in excess of institutional mechanisms of social redress. At one and the same time, they evoke what commissions and tribunals cannot do and the necessity of doing redress work into the future.
COLLEGE LITERATURE: A JOURNAL OF CRITICAL LITERARY STUDIES 40.3 Summer 2013
Print ISSN 0093-3139 E-ISSN 1542-4286
© West Chester University 2013