OTL Blog

Even though we’re known for guerilla-style culture jams and highly improvised performances like Car Stories, OTL also has also produced a significant amount of text over the years, some of it theoretical material and some of it scripts for theatre.

We’ve started collecting some of this in what we’re calling the Optative Library.  Just like many other libraries, membership is free!  Here’s what you can currently find:

Optative Theatre: A Critical Theory for Challenging Oppression and Spectacle by Donovan King (268-page PDF with one-page html intro) A thesis that outlines the theory that OTL was founded on and still operates with today.  It speaks of historical predecessors, contemporaries and the basis of some of our projects.

Rachel’s Words Montreal: The Words About the Words (15-page PDF) A verbatim theatre piece dealing with the controversy that erupted when the New York Theatre Workshop cancelled its production of My Name Is Rachel Corrie for political reasons.  The script is compiled from news reports, interviews and message board postings on the subject from both sides of the censorship debate.  We performed this preceding a reading of Rachel Corrie’s e-mails from Palestine as part of the international viral theatre reaction to the censorship called Rachel’s Words.

Sinking Neptune November 2006 Play Script (15-page PDF) A radical dramaturgy that combines Canada’s incredibly racist “first play” (Lescarbot’s Theatre of Neptune in New France) with verbatim source material taken from news interviews with the group that was attempting to remount it and contrasts this with native voices speaking out against the impact of this play and cultural genocide in general.  This is the script used in the first phase of the project that voyaged all the way to Annapolis Royal, Nova Scotia.

We’re adding new material soon, including the play text for Sinking Neptune II which mixes in discussions surrounding another colonialist celebration, the 400th anniversary of Quebec City, so check back and for now enjoy what’s already available in the Optative Library.

Well before Time2Ad‘s giant billboard reared its obtrusive head on St-Laurent Boulevard, OTL’s Reclaim the Main campaign had been challenging corporate and monoculture intrusions our heritage site through culture jamming.

Every summer during the street fairs we were greeted with a new corporate sponsor monopolizing a celebration that’s supposed to be for the people as buskers, artists and other citizens were told that their voices were not welcome and essentially less important than those of PartyPoker.net, Bavaria Beer and as of this year Koodo Mobile.

The group responsible for bringing in the corporate presence over the past few years has been the Société de développement du boulevard Saint-Laurent.  Not only have they brought in this corporate influence but they literally rent off public space to them so that it temporarily becomes private property.

Just before the holiday season last year they held a series of events celebrating the Main’s re-opening.  One such event was Pimp My Tree which invited participating groups to decorate one of the many Christmas trees planted between Sherbrooke and Mount-Royal.  We decided to take part and reserved a tree.

We decorated our pine with ornaments wrapped in images of some of the corporate spam elements brought in by the société as well as of ad trucks, a form of visual pollution also plaguing the Main that our city government refuses to do anything about.  Instead of a star, we had a cardboard signpost pointing at some of the intrusive elements that were right around the tree, including a surveillance camera overhead.

Needless to say, this brought out some interesting and interested reactions from passersby and some expected criticism from members of the société.

They’re doing another shindig this year for the holidays and our invitation to participate has somehow been lost in the mail.  It’s coming up pretty soon, so if you have any ideas of how we might take part and jam the monoculture yet again, please contact main@optative.net

On the occasion of today’s Quebec election and in honour of the difficulties Stephen Harper is presently facing in Ottawa, we present a mock press conference we performed with UTIL (l’Unité Théâtral d’Interventions Loufoques) on the back of a flatbed truck before an anti-war march in the freezing cold, March 2006.

First, the guest of honour is introduced by the military industrial complex…

then the Prime Minister appears and makes a speech…

then the “journalists” have a chance to ask their questions…

but someone uninvited has snuck in…

Hope you enjoyed!  Remember to vote.

On Friday, OTL continued its Buy Nothing Day tradition of jamming the corporate monoculture and our consumer culture by going to the bank and the mall.

In our scene, Mr. Monopoly (monocle, moustache, top hat and all) had just lost a bunch of money on the stock market and went looking for a handout with his corporate assistant and bag-carrying lackey.

We started at the source of consumerism, the bank (four of them, actually) to highlight the fact that banks in Canada make record profits, frequently making unethical investments, while people struggle.

Once Mr. Monopoly discovered that his loan had not come through, he started asking people if anyone could loan him $25 000 so he could take the limo home (his feet were tired after all).  Bank security kicked him out, so he started asking people on the street the same question, as did his assistants, including the lackey who apparently hadn’t been paid yet (“my feet before your wages”).

Eventually, we ended up at the consumer circus itself, the shopping mall, filled with chain stores including some with unethical histories and present practices.

Mr. Monopoly felt right at home and realized that as long as people kept buying, he would make his money back anyways.  He made a speech to talk about his joy.  He actually made this speech a few times and as he made it the last time, we were rather roughly ejected from The Bay by an undercover security guard who also attacked our camera operator.

You can see more pictures and read more about this jam and previous jams here.  The video will be posted soon.

It’s also interesting to note that the true history of Monopoly as an anti-capitalist game has been hidden.

Last year, it was a clever, creative warning of what was to come if we didn’t curb our over-consumptive ways.  This year, it seems like the prophecy of the Shopocaypse is coming true, if you follow international business news, anyways

What Would Jesus Buy is a film that chronicles NYC theatre activist Reverend Billy and his Church of Stop Shopping as they make their way across the US just before Christmas to warn of the impending doom wrought buy too much useless spending.

The film directed by Rob VanAlkemade and produced by Morgan Spurlock (Super Size Me) is also a look at American consumer culture in general and in particular during the holiday season.

It has already played on several screens around the world and garnered critical praise.

The Montreal premier is tonight at 7:30 pm and part of the Cinema Politica series at Concordia University, 1455 boul. de Maisonneuve Ouest, room H-110.  This is a free event.

Have a look at the trailer:

OTL BND UPDATE: Mr. Monopoly visited the banks, the malls and the streets of Montreal asking for a huge handout.  You can find out what happened on this blog Wednesday or check out our BND site in the meantime.

Buy Nothing Day is an international challenge to our oversaturated, unsustainable consumer culture.  For the past five years, Optative Theatrical Laboratories has challenged this glut with guerilla theatre culture jams at places like McDonald’s, Starbucks and more recently Chartwells.

Mass consumption wouldn’t be possible without the banks and this year, the greed of those institutions has been exposed globally.  That’s why this Buy Nothing Day OTL is going to the bank.

We’re always looking for more jammers to join in the fray.  If you’d like to take part, we’re meeting today at 1pm at an undisclosed location.  Please call 514-699-3378 to find out more, but since we have already been infiltrated once (by American Apparel in 2006) we’re not taking any chances, so expect to be thoroughly vetted.

This also isn’t the first time OTL has jammed a bank. In 2007, we joined with the Frente Amplio Opositor (Broad Opposition Front in English), a group of theatrical activists based in Cerro de San Pedro, Mexico, a small community being destroyed by an illegal open-pit mine in the middle of their town.

The mine was operated at the time by Metallica Resources, which has since merged with other companies to form New Gold, which continues in this devastating operation.

Our jam spoke out against Metallica Resources, but also the CIBC Bank, a major investor in the company to the tune of $11 million.

This is a video of the performance from Guerilla Video Productions entitled The Toxicity of Gold:

And remember not to buy anything today – curb your consumption!

Before the recent Canadian federal election, Stephen Harper visited Longueil, not far from Montreal, OTL and others were there to meet him, including Melanie Kal, who files this report

I, Melanie, performed in a jam for the first time in my life wearing an Official Man’s outfit.  needless to say – this included his face too! My costume was made with a cardboard version of Stephen Harper’s face,  on “older lady” grey wig and a suit & tie. As part of OTL, I made a public appearance to theatrically denounce Conservative Politics and Harpers impending cuts for arts funding.

Our presence was timely; Along with OTL, (the real) Harper was in Longueil that afternoon, giving a speech at the Sandman hotel to boost his position in the coming Elections. Harper himself would have been proud and shocked at the delicatesse of his costumed characterization. I was personally hoping to shake the ol’man’s hand, if he decided to come out of the police-caded hotel parking lot with his personal security vehicles, to remind him of his subconscious – if he has any! Imagine the media shots of that one! “Harper has humor – shakes hand with his critical twin!”

The Dramatic line of our performance was very simple- Harper (me) was simply actively abusing, mocking the artists, who were also OTL crew. We joined les Jeunes patriotes – the Young Quebec Patriots- also protesting Harper’s presence that day at the hotel. Being mostly a crew of anglophones and allophones, some of us were reluctant at to join them at first. We quickly warmed up to their immediate friendliness, perhaps both of us recognizing that in a parallel struggle, solidarity is sweeter than difference. As i said, hey gave me warm welcome – well at least after they Booed me in (my character) . The “starving-artists” jumped through the crowd creating gentle debauchery and mocking  Harper’s insistence on chasing them around and “oppressing them” with his cuts. He was being quite the dictator! I took a few media shots holding Hamlet’s skull, giving the finger (flipping off) the media, young patriots and the cameras.

Costumed Harper also got his fun from kicking and breaking the artist’s canvasses, chasing them with red paint. Basically i tried embodying the Harper-ego, most apparent to those affected by his cuts and such.

The media were very friendly with us – and with me- asking me to “explain myself” in Character! “Monsieur Harper! Que pensez-vous de ces artistes?” Woa Woa! i didn’t practice my Calgarian French enough to pull that one off!

We also met a bunch of artists also protesting there called “SALA” – Spoiled Artists Liberation Army – who were supportive and OTL made a few contacts while also performing a few  chants for the cameras.

As usual, the jam did not go as planned- people didn’t show up and my wig kept falling off! We were supposed to portray a cigar-smoking Stephen grabbing cash from the donation box amidst a circle of starving working artists. I even intended to take a bite out of their lunch, a carefully prepared margarine sandwhich.  Alas, we had to limit ourselves to a mere 3 person crew, of which 2 artists were simply ‘running away’ from the abusive PM.

It was all very lovely. I even got to dress as a Man of State! My long hair flowing out of the mask, I wondered how many people even got the critical gender intonation of our piece. We, incidentally also included a line about the Konservatives’ attack on women’s reproductive rights; how timely and odd in this context! But OTL is certainly known for it’s mastery of awkward excess.

With this year’s Buy Nothing Day only four days away, here’s a look back at The Chartwells Tour, a theatrical jam performed by OTL and Uberculture Concordia last BND to challenge the monopolizing University food service provider controlled by Compass Group Canada.

Chartwells not only runs all the cafeterias at Concordia and McGill Universities, as well as campuses across North America, but they use the exclusivity contracts they sign with the University administrations to bring in companies like Tim Hortons and Starbucks and restrict any food or beverage sales not under their control. You can’t even have a bake sale without their okay.

Two main issues that helped to inspire our performance were the at the time recent annexing of the student-run Architecture Café by Chartwells at McGill and the meal plans forced on students staying in residence at Concordia.  Yeah, students still have free choice of where to eat, but who can afford to go elsewhere when you’ve just paid more than $500 to eat at Chartwells for the semester.

We performed our scene at McGill and Concordia.  It played on Chartwells monopolization of food services by bringing it to its naturally absurd conclusion.  A military drill seargent, the president of Chartwells (Mr. Wells) and ChartWater security arrive to inform students that not only do they have no choice where to eat, but now the company is going to tell them what to eat.

Have a look at the McGill jam:

We’re still looking for players for this year’s BND jam.  To get involved, please contact bnd@optative.net or call 514-699-3378

Welcome to the official blog of Optative Theatrical Laboratories.  OTL was founded at the University of Calgary in 1999 and soon moved to Montreal where it has been performing guerilla theatre culture-jams and activist plays ever since.

In this space, you will hear about our latest projects, reports from previous theatrical interventions such as our jams of American Apparel, Chartwells and other bastions of monoculture and corporate oppression.  You’ll also be kept up to date on upcoming stages of ongoing projects like Sinking Neptune, Car Stories and the infringement Festival, which we founded in Montreal in 2004.

We’ll also be bringing you videos of some of our projects and help spread the word for those groups and people we are in solidarity with.

Below this introduction, you will find some posts from other blogs speaking of OTL projects.

Enjoy!!!

From the OTL archive, this article was written in 2003 by Donovan King about a workshop given by Augusto Boal, founder of Theatre of the Oppressed, that he took part in:

Apparently Billboard Trucks, giant commercial television screens on buildings, and advertising panels in public washrooms are not enough to satisfy corporate desires to capture our “mindshare” any more. Stealth Marketing is a disturbing new phenomenon, whereby corporations cast live actors to covertly market their products in a “real world” setting. Whether it's a flirtatious girl buying the boys a round of the latest brand of vodka at the bar, a pair of tourists asking passers-by to take their photo with a Sony digital recorder, or any number of invasive “reality-advertising” scenarios, Stealth Marketing is an ontologically upsetting next step in what Naomi Klein calls “an evolution from experiential shopping to living the fully branded experience.” Upon closer examination, it becomes apparent that this new form of so-called marketing is nothing short of a corporate attempt to co-opt an activist theatre technique: Augusto Boal's Invisible Theatre.

In May, Boal, arguably the world's most influential living theatrical theorist today, delivered a much-anticipated workshop on Invisible Theatre in New York City. Hosted by the Theatre of the Oppressed Laboratory (TOPLAB) and the Brecht Forum, this workshop is rarely given, the previous one having being cancelled after the 9/11 terror incident. Lasting three days and involving an extremely diverse group comprised of educators, theatre artists, health care workers, and anti-oppression activists, 39 participants came from all over the world to learn the secrets of Boal's technique, and to apply the Invisible Theatre in a series of direct actions in the heart of NYC.

The Optative Theatrical Laboratories sent two delegates, myself included. We hoped (in addition to clarifying some theoretical concepts) to be inspired by Boal, and the charismatic and good-humoured Brazilian theatrician did not disappoint. Augusto took the time to address our concerns about the corporate Stealth Marketing phenomenon, explained the goals and mechanics of Invisible Theatre in intricate detail, and contextualized the technique into the overall Theatre of the Oppressed matrix. It was one of the best experiences I have ever encountered in education, activism, and theatre.

Invisible Theatre is an extremely powerful (and often overlooked) form of activist theatre, whereby players rehearse a scenario to be played out in the “real world.” It is “Invisible” because those who become entranced into the scene are not aware that theatre is taking place – people assume the theatrical situation that unfolds is “real.” However, unlike Stealth Marketing's goal of capturing mindshare (and selling products), the goal of the Invisible Theatre is to sell the concept of anti-oppressive practice.  Boal calls it a “rehearsal for revolution.”

In the workshop five groups were formed, each dealing with different issues of Oppression (eg: sexism, classism, and racism).

INVISIBLE THEATRE #5: “Manufacturing Fear”

Location:  Madison Square Park, NYC
Players: 12 (2 TOURISTS, 2 MUSLIM WOMEN, 8 PARK-GOERS)

Action #1
Two REDNECK TOURISTS videotape their visit to Madison Square Park. In a loud and gaudy manner, they draw attention to themselves, filming statues, the Empire State Building, making speeches for friends back home, etc. TOURIST #1, with the video camera, is from some Midwestern state, and expresses concern and fear about potential terrorist danger in NYC: with the “Code Orange” alert, the government has advised people to be vigilant and report “suspicious activity” to the authorities. TOURIST #2, slightly more reasonable and currently living in NYC, attempts to assuage TOURIST #1's   fears.

Action #2
Two MUSLIM WOMEN enter, wearing the hijab, and take photos of the Empire State Building. TOURIST #1, alarmed by this sight, begins filming the women with his video camera. TOURIST #1 speculates that the women might be connected to the “War on Terror” and that they might be photographing installations for terrorist groups.  He remarks that on the subway there are posters asking citizens to be alert and to report suspicious activity to the police. TOURIST #2 tries to assure #1 that Muslims are common in NYC, and suggests that he might be over-reacting.

Action #3
The MUSLIM WOMEN ask spect-actors (eg: people sitting on a bench) if they are being filmed, and exhibit fear over the situation. Several
PARK-GOERS begin generating interest in the situation by either confronting or supporting TOURIST #1, or by speaking with spect-actors about the situation and inviting them to take action.

Action #4
The MUSLIM WOMEN exit the scene. A crowd of PARK-GOERS and spect-actors gathers around the TOURISTS, engaging in a heated debate about the situation. TOURIST #1 insists that he is following government orders for everyone's safety. A PARK-GOER counters the argument, pointing out that it is overt racism.

Action #5
The TOURISTS, feeling harassed, exit. Several PARK-GOERS stay on to debate the whole situation. Even after all the players have left, the theatre continues – in the minds (and eventually actions) of those who participated.

Given the “Code Orange” atmosphere of fear currently permeating NYC (eg: armed soldiers on the street), our group was careful in selecting the location. Ground Zero and the Staten Island Ferry were deemed too dangerous for the Muslim members of our group, so we decided on Madison Square Park. Our Invisible Theatre performance heated up very quickly until a large angry crowd had gathered around the TOURISTS, many of them demanding that the video cassette be erased or handed over for destruction. The question raised was whether or not it was acceptable for vigilante U.S. citizens to follow government suggestions to racially profile Muslim people. I am pleased to report that the answer from the public in this case was a resounding NO. The Arab-Americans in the group described the exercise as “therapeutic” (having witnessed so many people come to their defence) and are continuing their Invisible Theatre work in NYC to this day.

Boal applauded the scene, and suggested that if enough groups of people engaged in Invisible Theatre on a given day on a given topic, it might be possible to transform the mental environment of an entire city, provoking its citizens into rejecting oppressive submission by becoming politically active. The beauty of the Invisible Theatre is that, as with other techniques from the Theatre of the Oppressed arsenal, “the theatrical rituals are abolished, only the theatre exists, without its old, worn-out patterns. The theatrical energy is completely liberated, and the impact produced by this free theatre is much more powerful and longer lasting.” (Boal, Theatre of the Oppressed, 141). Those who experienced the Invisible Theatre that day, both as players and spect-actors, will remember the oppression, the issues, and the political action that was taken.

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