{"id":4756,"date":"2023-10-06T01:41:15","date_gmt":"2023-10-06T04:41:15","guid":{"rendered":"https:\/\/www.twisitheatreblog.com\/?p=4756"},"modified":"2023-10-06T01:41:16","modified_gmt":"2023-10-06T04:41:16","slug":"highly-anticipated-pawakan-macbeth-comes-to-prismatic-sells-out","status":"publish","type":"post","link":"https:\/\/www.twisitheatreblog.com\/?p=4756","title":{"rendered":"Highly Anticipated Paw\u00e2kan MacBeth Comes to Prismatic & Sells Out"},"content":{"rendered":"\n

The Prismatic Arts <\/a>Festival<\/a> is in full swing this week in various venues throughout Kjipuktuk (Halifax). Prismatic is a national multidisciplinary arts festival whose mandate is to showcase and celebrate work by Indigenous artists and artists of colour from across Canada. The festival has been bringing audiences here some of the best in theatre, dance, music, film, visual and media arts, and spoken word since 2008.\u00a0<\/p>\n\n\n\n

One of the most highly anticipated productions that is here as part of the festival, in a co-production with Neptune <\/a>Theatre<\/a>, is Akpik Theatre<\/a>\u2019s Paw\u00e2kan MacBeth<\/em>, which has sold out the entire rest of its run at the Neptune Scotiabank Studio Stage. The play is a reimagined version of one of Shakespeare\u2019s darkest plays \u201cas Cree history, legend, and cosmology.\u201d I spoke to Reneltta Arluk, the playwright and director of the play, and the founder of Akpik Theatre, which, like Prismatic, dates back to 2008.\u00a0 \u00a0 \u00a0<\/p>\n\n\n\n

Reneltta Arluk was born and raised in the Northwest Territories. Her mother is Denesuline and Cree from Treaty Territory Wood Buffalo Region, which is close to the Fort Chipewyan and Fort Smith regions in Alberta and The Northwest Territories. Her father is Inuvialuk from the\u00a0 Inuvialuit Aklavik region, which is \u201cin the far, far, north of the Northwest Territories.\u201d She was raised on the trap line by her grandparents, and raised on the land until she had to go to school. \u201cA lot of my early memories are of being on the land, and in the bush, and hearing stories, and being surrounded by a lot of love from the grandparents,\u201d she says, explaining how she wasn\u2019t able to get into theatre in a direct way like those who are raised in more urban or southern regions. \u201cI didn\u2019t take drama, I didn\u2019t take dance, I didn\u2019t have ballet lessons,\u201d she says, \u201cbut I had a lot of stories around me, so when I got older I started really looking at ‘how can we keep our culture going forward.’ There\u2019s several experiences and situations where I just saw culture needing to live, and so I thought ‘well, what can I do to keep our culture living?’ and then I went, ‘well, for me, it\u2019s naturally through storytelling’, and all theatre is is dramatic storytelling, so then I started taking a practice that was a very Indigenous perspective and [then] took a very Western approach by going into theatre school. So, I got theatre school training, but I always kept that lens that this applies to this, not this applies to that.\u201d<\/p>\n\n\n\n

Arluk was the first Indigenous woman to graduate from the prestigious BFA Acting Program at the University of Alberta, which at that time was a class of about twelve students, who were accepted into the program from a group of over 150 people who had auditioned. Arluk says that she had to learn how to \u201capply the mechanics of \u2018stage right, stage left,\u2019 when I was never raised with that kind of methodology. But now I\u2019m very good at it,\u201d she laughs heart-fully.<\/p>\n\n\n\n

As most North American students do, Arluk encountered William Shakespeare\u2019s work in school, and she revisited it during her time in theatre school. She was then hired to do a residency in Frog Lake First Nation, a Treaty 6 reservation, and was initially asked to do an adaptation of The Tempest<\/em> with students. \u201cI said, \u2018okay, well, I\u2019m not going to tell them what to do, but The Tempest<\/em>, from an Indigenous perspective, is pretty problematic because of how they treat Caliban,\u201d Arluk says, \u201cSo I was like, \u2018I wonder how they\u2019ll approach this with these students.’ Then, I got a call later on that said, \u2018well they\u2019re not interested in doing The Tempest<\/em> cause they don\u2019t connect to it, but we want to do MacBeth<\/em> and we want to use the Cannibal Spirit as MacBeth, and we want to talk about greed.\u2019 And I went, \u2018wow, that\u2019s huge power! and I wonder what kind of energy we want to bring into the room and work with young people on this play’, which is quite, quite dark. But, it\u2019s not for me to tell anybody what to do, when you\u2019re a guest, so I thought \u2018okay, what we\u2019ll do is we\u2019ll make this an opportunity, and we\u2019ll talk to Elders about the Cannibal Spirit, which we are telling in this play. So, we offered Elders tobacco and an honorarium and they came in and they shared stories of the Cannibal Spirit with the students, and the students, in turn, shared their stories, and it became a story share of young people sharing their stories with Elders, and Elders doing the same. The Elders were really touched, I could see it, that they were really touched that young people knew their own history, their own cosmology, and that young people were happy to impress Elders that were there. So, this ended up being a really positive experience.\u201d\u00a0<\/p>\n\n\n\n

Arluk didn\u2019t fully embed the MacBeth<\/em> and the Cannibal Spirit concept with the students, but she left feeling inspired, and \u201cwonder[ing] if it was possible to do this on a professional level\u2026 and if the impact would still be the same, which was two negatives make a positive.\u201d Arluk mentions that in the Western theatre tradition there is a level of superstition around saying MacBeth\u2019s name, often actors will refer to the play as \u201cMackers.\u201d\u00a0 In a similar way for the Cree, the Cannibal Spirit, Wihtiko, is often referred to just as \u201cThe W.\u201d Paw\u00e2kan MacBeth <\/em>has both. And yet the result has been the exact opposite of the superstitions, \u201cEvery time we\u2019ve ever done this work, whether it be a workshop, a reading, or a performance, the impact that it has on the company is always really, really positive, and so we just keep doing it,\u201d says Arluk.\u00a0<\/p>\n\n\n\n

The play is set in Plains Cree territory in the 1870s, before Indigenous reserves were established, but, as Arluk says, \u201cSir John A. Macdonald exists, Indian Agents exist, and [some] treaties have been signed, but these Indigenous communities [in the play] are still sovereign.\u201d Shakespeare\u2019s witches become the Wiy\u00f4y\u00f4wakak, The Howlers: a half coyote half spirit character. They are featured more than the witches in MacBeth<\/em>, as they \u201care driving the entire narrative of this piece,\u201d says Arluk. The overall arc will be familiar to those who know MacBeth<\/em>: against a grim backdrop of fear, starvation, wars between First Nations, and colonialism creeping further and further west Macikosis\u00e2n plots with his wife K\u00e2wanihot Iskwew to murder their Chief Okim\u00e2w W\u00eep\u00e2stim to benefit themselves.<\/p>\n\n\n\n

Arluk says that while the students at Frog Lake First Nation wanted to focus on the theme of greed, when she started developing the work for professional actors she began to think more about \u201cwhat makes us human, and what makes us, as humans, susceptible to energies like that?\u201d <\/p>\n\n\n\n

Paw\u00e2kan MacBeth <\/em>has been performed in different incarnations throughout many other provinces since 2017, and audiences here in Mi\u2019kma\u2019ki are obviously as eager as I am to see it, since the entire rest of the run is sold out.<\/p>\n\n\n\n

There are lots of other events, however, still ongoing as part of Prismatic, including Alan Syliboy\u2019s film Wolverine and Little Thunder<\/em>, on a 24 hour loop at Rogers Square until October 8th, Okan on Friday night at the Dalhousie Arts Centre, Logan Staats and Basset on Friday night at the Carleton. Please visit this website for more <\/a>information<\/a>.\u00a0<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

The Prismatic Arts Festival is in full swing this week<\/p>\n","protected":false},"author":1,"featured_media":4757,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[4672],"tags":[7725,7727,7730,7729,3337,3447,7728,3391,7726,3321],"class_list":["post-4756","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interview","tag-akpik-theatre","tag-alan-syliboy","tag-basset","tag-logan-staats","tag-neptune-theatre","tag-neptune-theatre-scotiabank-studio","tag-okan","tag-prismatic-arts-festival","tag-reneltta-arluk","tag-shakespeare"],"yoast_head":"\nHighly Anticipated Paw\u00e2kan MacBeth Comes to Prismatic & Sells Out - The Way I See It Theatre & Music Blog<\/title>\n<meta name=\"description\" content=\"The Prismatic Arts Festival is in full swing this week in various venues throughout Kjipuktuk (Halifax). 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