PUSH FESTIVAL

PUSH FESTIVAL Suggested Shows

YOUTH PASS : Four Show Pass $20.00

16-24 years old pushfestival.ca

https://pushfestival.ca/youth/youth-program/

For those of you also interested in the Push Youth assembly. You can register here.

https://docs.google.com/forms/d/1wgKGcYPGcy4_Vw1BBS3Cpjy4ru1UDHKZPYxcrUrqiKM/edit

2023 PuSh Youth Assembly Registration Form

The PuSh Youth Assembly is a free, 1-day youth conference which provides the opportunity for youth to meet and exchange with artists and arts professionals. This year’s Youth Assembly will be held on Saturday, January 28 from 9am-7pm at SFU Woodward's.

This is your opportunity to connect with professional artists, have conversations with your peers, and learn what a career in the performing arts entails. All participants of the Youth Assembly are eligible to purchase a Youth PuSh Pass, which for $20 gets them access to four different PuSh performances during the 2023 Festival.

https://tickets.pushfestival.ca/TheatreManager/1/online?membershiptype=67

Learn more about the Youth Assembly at https://pushfestival.ca/youth/youth-program/

For questions, reach out to Interim Director of Programming, Tom Arthur Davis, at tom@pushfestival.ca

NEVER TWENTY ONE

Never Twenty One - PuSh FestivalSmaïl Kanouté’s dance production is a lament, a tribute and a protest. It takes its name from the hashtag #Never21–a reference to Black men who have lost their lives to gun violence before reaching 21 […]

Smaïl Kanouté’s dance production is a lament, a tribute and a protest. It takes its name from the hashtag #Never21–a reference to Black men who have lost their lives to gun violence before reaching 21 years of age. The show pays homage to the memory of Black men in New York, Rio de Janeiro and Johannesburg who have died from shootings.

On a darkened stage, three men move with a style that applies the urban idioms of krump, popping, baile funk and passinho to contemporary dance. Each man’s body is inscribed with the words of victims’ families–words of praise, of sorrow, of grief. The dancing is effusive yet finely calibrated, with beautiful, forcefully symbolic movements. In its reference to individual lives, Never Twenty One has a heartbreaking specificity; as a political act, it has a global reach.

Production Company: Live! Co-production: Les Ateliers Médicis, Clichy-sous-Bois / Espace 1789, subsidized dance stage, Saint-Ouen / The International Choreographic Meetings of Seine-Saint-Denis / Centquatre- Paris / Théâtre de la Ville, Expanded Dance 2020, Corporate Foundation Hermès

JANUARY 28th at 7:30pm

Le cri des méduses - PuSh FestivalThe inspiration for this haunting, dreamlike dance performance is Géricault’s The Raft of Medusa, which depicts a jumble of intertwined bodies and has human desperation as its theme. Choreographer Alan Lake has taken the painting’s […]

The inspiration for this haunting, dreamlike dance performance is Géricault’s The Raft of Medusa, which depicts a jumble of intertwined bodies and has human desperation as its theme. Choreographer Alan Lake has taken the painting’s beauty and pathos and transposed it to the stage, adding his own brilliance. Nine dancers perform under an ever-shifting scenography–sometimes in pairs, sometimes individually, sometimes in a thick knot of muscle and limb that evokes Géricault’s vision.

Lake’s production is entirely gestural and musical, and yet there is so much to reward our attention: there are portable wooden structures for the dancers to hang from, or against; there are, at times, sheets of translucent material that cloak undressed bodies; there are precise lighting changes, from single spotlights to fulsome illumination. The music has a dark throb and an ambient constancy, as well as intermittent percussion and string notes. Powerful, seductive and ultimately unclassifiable, Le cri des méduses is a triumph of the imagination.

Creation support – Residencies Place des Arts, La Rotonde, Danse à la Carte, Maison pour la danse de Québec, Danse Danse. Alan Lake Factori[e] is supported by the Canada Council for the Arts, the Conseil des arts du Québec and the Entente de développement culturelle de la Ville de Québec.

FEBRUARY 2ND THURSDAY 7:00PM ITAI ERDAL DRESS REHEARSAL (PUSH FESTIVAL)

at the ROUND HOUSE

*WE HAVE BEEN INVITED TO ITAI'S DRESS REHEARSAL (WE WILL NOT REHEARSE THAT DAY IN THE EVENING INSTEAD WE WILL ALL ATTEND ITAIS DRESS REHEARSAL)

Itai Erdal: Itai Erdal is an award-winning lighting designer, performer and playwright. He is the founder of The Elbow Theatre, a company created to confront urgent social and political issues. With The Elbow Theatre, Erdal has staged Hyperlink, This Is Not a Conversation and A Very Narrow Bridge. He has won six Jessie Richardson Awards for his work.

Soldiers of Tomorrow - PuSh FestivalPlaywright and performer Itai Erdal writes of a day when his eight-year-old Israeli nephew came home from school with an empty box. It was to be filled with goods for soldiers on the frontlines, and […]

ARE WE NOT DRAWN TO A NEW erA

Showtimes

February 1 at 7:30
February 3 at 7:30 (I am going to this performance)
February 4 at 7:30

Ontoerend Goed’s palindromic take on the climate crisis uses structure as metaphor, employing repetition and reversal to symbolize the need for a worldwide undoing of our actions. The play starts off with backward speech from the actors, but fear not: this strangeness is temporary, and as things become clearer the genius of the creation reveals itself.

Technically as well as formally ingenious, Are we not drawn onward to new erA turns time, movement and visuals on their heads–and, like the best works of radical art, it does so in the service of political meaning. It’s an artistic intervention in a matter of the utmost importance, and it uses temporality as a provocation. As we draw closer and closer to worldwide calamity, this work asks us to rethink human possibility.

Are we not drawn onward to new erA - PuSh FestivalOntoerend Goed’s palindromic take on the climate crisis uses structure as metaphor, employing repetition and reversal to symbolize the need for a worldwide undoing of our actions. The play starts off with backward speech from […]