By Michael McKinnie
In each significant urban, there exists a posh alternate among city area and the establishment of the theatre. City Stages is an interdisciplinary and materialist research of this courting because it has existed in Toronto considering that 1967. finding theatre businesses - their websites and practices - in Toronto's city setting, Michael McKinnie specializes in the ways that the theatre has tailored to adjustments in civic ideology, setting, and economic climate.
Over the previous 4 many years, theatre in Toronto has been more and more implicated within the civic self-fashioning of town and preoccupied with the implications of the altering city political economy. urban Stages investigates a couple of key questions that relate to this trend. How has theatre been used to justify convinced types of city improvement in Toronto? How have neighborhood genuine property markets stimulated the ways that theatre businesses collect and use functionality house? 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 appearing Arts as case stories and considers theatrical businesses reminiscent of Theatre Passe Muraille, Toronto Workshop Productions, friends in undesirable instances, and beneficial Angel in his analysis. urban Stages combines basic archival examine with the scholarly literature rising from either the arts and social sciences. the result's a complete and empirical exam of the connection among the theatrical arts and the city areas that condo them.
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Additional resources for City Stages: Theatre and Urban Space in a Global City
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. For proof of this attachment, one need only look to the contemporary history of urban activism in Toronto, much of which has been focused on the downtown core. An early victory was stopping the extension of the Spadina Expressway through old neighbourhoods in Toronto’s core. A more recent example is the vocal opposition by many residents of the former City of Toronto to the provincial government’s amalgamation of the metropolitan federation into a unified 32 Part One: Civic Development municipal government in 1998.
Some performance sites have, historically, fit uneasily within Toronto’s urban environment. This requires acknowledgment, even if these sites do not feature as case studies within my project. The Harbourfront complex of theatres is a good example of such unease (as is the Hummingbird Centre, which I note in chapter 1). The Harbourfront theatres are located on Queen’s Quay, and, like the Harbourfront area itself, have had an awkward relationship with the theatrical geography of Toronto since the area’s construction started in the mid-1970s.
There was little chance of it being built without this development revenue, since the City was, arguably, engaged in a financial shell game to make the project politically palatable and consistent with the fiscal image it wanted to promote of itself. Although the City of North York was a relatively wealthy municipality, the political climate had become very sensitive about expenditure from the property tax base. Lastman, furthermore, encouraged the idea that North York could be both parsimonious with the City treasury but beneficent with civic projects.