100% Vancouver
100 ‘ordinary’ Vancouverites are chosen to embody census data with each person representing one percentile of the city. Answering autobiographical questions, they arrange themselves on stage in living data visualizations.
Production Credits
Produced by: Theatre Replacement, Rimini Protokoll Directed by: Amiel Gladstone Casting and Dramaturgy by: Tim Carlson Stage Manager: Rebecca Craster Casting Assistants: Donna Soares, Xanthe Faulkner, Sara Bynoe Production Manager and Technical Director: James Foy Set and Lighting Design by: Adrian Muir Video Design by: Tim Matheson Sound Design and Video installation by: Candelario Andrade Musical Direction by: Ron Samworth Musicians: André Lachance, Evan Arntzen, Ron Samworth |
Production History
Presented at PuSh International Performing Arts Festival (Vancouver, British Columbia) in September 2011.
Read more in PLAY: Dramaturgies of Participation: PAINT, FOOT WASHING, MAD LIBS, ORDINARY PEOPLE, ENCOUNTER
Articles
Jenn Stephenson, “Real People Part 2: Insecurity and Ethical Failure in the Encounter with Strangers--100% Vancouver, Rare, and Polyglotte,” Insecurity: Perils and Products of Theatres of the Real (U of Toronto P, 2019), 48–90.
Tim Carlson, “Matter of Protokoll,” Rimini Protokoll, 21 January 2011, rimini-protokoll.de/website/en/text/matter-of-protokoll.
Richard C. Windeyer, “Petri Dish Deceptions: A Search for 100% Veracity in Rimini Protokoll’s Statistical Portrait of Montreal,” Canadian Theatre Review 175 (Summer 2018), 29–34.
Keren Zaiontz, “Performing Visions of Governmentality: Care and Capital in 100% Vancouver,” Theatre Research International 39, no. 2 (2014): 101–19.
Tim Carlson, “Matter of Protokoll,” Rimini Protokoll, 21 January 2011, rimini-protokoll.de/website/en/text/matter-of-protokoll.
Richard C. Windeyer, “Petri Dish Deceptions: A Search for 100% Veracity in Rimini Protokoll’s Statistical Portrait of Montreal,” Canadian Theatre Review 175 (Summer 2018), 29–34.
Keren Zaiontz, “Performing Visions of Governmentality: Care and Capital in 100% Vancouver,” Theatre Research International 39, no. 2 (2014): 101–19.