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Voice Your Celebration was a public computing installation at Canada's National Music Center, which offered a re-staging of computer code as a heterotopic form of participatory theatre. In the same way that the stage and the script can stand in between the audience on one hand, and actors and creators of a play on the other, in performances involving live digital art, pre-written code can also separate the coder and creators from the interacting audience. In this paper, we illustrate how Voice Your Celebration sought to address this divide by creating opportunities for the audience to become participants in the code itself by incorporating their voices and stories as integral parts of a widely used computational algorithm (Reynolds's algorithm) for simulating flocking behaviour. [ABSTRACT FROM AUTHOR]

An interview with Jani Lauzon and Kaitlyn Riordan, conducted by Sorouja Moll, is presented, exploring their collaboration on the play 1939, an adaptation of Shakespeare set in a Residential School in early twentieth-century Canada. Topics include their impulse to examine Shakespeare and colonial histories in Canada, the challenges faced in developing the work, and the process of centering Indigenous voices in Shakespeare's works.

TBD is a multidisciplinary theatre event presented in Vancouver, BC, in 2015 and 2016. The project uses the Tibetan Book of the Dead as a structural anchor and guide to the audience's sensual and emotional experience, exploring notions of death and dying, living in the present moment, avoiding distraction, and non-attachment. The first iteration involved 50 audience members, the following year that number was expanded to 100. TBD spans twenty-one days, with each audience member receiving a different kind of engagement each day, primarily in the form of audio or video podcasts or text messages delivered to their smartphones. Their phones also carried a family-location app that allowed Radix performers to locate them in public. Other events included four site-specific performances on specific days, home visits, items dropped at their doorstep, or posters placed in their neighbourhood. After an introductory day at the local cemetery's communal hall, the audience's experience begins with a podcast asking them to imagine that they have died and that Radix performers will be acting like their guides through the afterlife to their possible rebirth. In this sense the title offers a double meaning, the acronym suggesting both "To Be Determined" and the Tibetan Book of the Dead. Many audience members expressed profound experiences over the course of the event, with equal enthusiasm shared by the performers who each had compelling stories about their interactions. The Radix Collective refers to TBD as "internal theatre" because participants framed their experiences through the unique lens of their own personal lives, without divulging what they were going through. The impact of the production varied for each audience member, depending on their point of view and willingness to engage with the work. [ABSTRACT FROM AUTHOR]