By Michael McKinnie
In each significant urban, there exists a fancy trade among city house and the establishment of the theatre. City Stages is an interdisciplinary and materialist research of this courting because it has existed in Toronto when you consider that 1967. finding theatre businesses - their websites and practices - in Toronto's city surroundings, Michael McKinnie specializes in the ways that the theatre has tailored to adjustments in civic ideology, surroundings, and financial system.
Over the earlier 4 many years, theatre in Toronto has been more and more implicated within the civic self-fashioning of town and preoccupied with the results of the altering city political economy. urban Stages investigates a few key questions that relate to this development. How has theatre been used to justify sure different types of city improvement in Toronto? How have neighborhood actual property markets encouraged the ways that theatre businesses gather and use functionality area? How does the research of theatre as an city phenomenon complicate Canadian theatre historiography?
McKinnie makes use of the St. Lawrence Centre for the humanities and the Toronto Centre for the acting Arts as case reviews and considers theatrical businesses resembling Theatre Passe Muraille, Toronto Workshop Productions, associates in undesirable occasions, and invaluable Angel in his analysis. urban Stages combines fundamental archival study with the scholarly literature rising from either the arts and social sciences. the result's a accomplished and empirical exam of the connection among the theatrical arts and the city areas that apartment them.
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Extra resources for City Stages: Theatre and Urban Space in a Global City
Chapter 1, ‘Urban National, Suburban Transnational: Civic Theatres and the Urban Development of Toronto’s Downtowns,’ examines the role of civic theatres in urban development, and, by extension, the way that Introduction: Towards an Urban Analysis of Theatre in Toronto 21 this development has been part of the city’s adaptation to economic change. : Constructing a Civic Play Economy in the Entertainment District,’ explores the way in which theatre functions as both physical and ideological linchpin in the creation of zones of urban consumption that are imagined to be civically virtuous.
This practice is not confined to theatre spaces – it is relevant to the function of cultural institutions in downtown redevelopment in general – but civic theatres are particularly useful from an urban planning and security perspective, since, unlike art galleries or museums, they tend to attract affluent citizens to an area at night. Downtown may be an area where legitimate economic transactions take place (and illegitimate economic transactions are nervously accommodated), but it is also an ideal to which many Torontonians are fiercely dedicated.
But the civic reconciliation it attempts effaces the resident theatre company’s own participation in a transnational theatre economy through which Sondheim circulates, and takes place against the urban backdrop of a solid wall of banking towers, whose occupants have been some of the most powerful advocates for transnationalism. The SLC offers the hope of a sentimental accord that the transnational economy does not. The realization of this consensus, however, is at best a daunting challenge, and at worst a naive aspiration.