What is it about?

COVID-19 had an impact on almost every sphere of life, including the theatre industry. It had to shut down abruptly, forcing artists to find other means of income and companies to shift the theatre experience entirely online. This was not easy and came with a lot of latent grief. Michelle MacArthur, the author of this paper and a professor of dramatic art, emphasizes the importance of taking a pause and making space for grief in this period of uncertainty. MacArthur takes two Zoom plays performed by her graduating students, The River of Forgetfulness and Good White Men, and showcases how grief played an importance role in guiding the production process as well as the valuable lessons being taught. The Zoom plays staged by the students were born out of a collective grief over the loss of live theatre brought on by COVID-19. The loss of Black and Indigenous lives, magnified by the Black Lives Matter protests, white supremacy, anti-Semitism, and misogyny were also manifested in the plays. They enlightened all in the importance of giving space to mourn, finding acceptance and meaning in grief, and the strength to move forward.

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Why is it important?

The pandemic brought live theatre performances to a screeching halt. It affected not only the spectators, but also the theatre students by upsetting their future plans. They suddenly found themselves at a loss and in mourning. It was necessary to find ways to engage the students and the audience, to find a release for their collective grief. The Zoom performances proved to be a success, despite the absence of physical gatherings. KEY TAKEAWAY: We humans are social beings. Life in isolation is not how we operate. The Zoom plays and audience interviews that followed were a respite from the grief that the pandemic imposed. The grief will not magically disappear, but it can be overcome through resilience.

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This page is a summary of: The Pedagogy of Grief: Lessons from Making Zoom Theatre During a Pandemic, Canadian Theatre Review, October 2021, University of Toronto Press (UTPress),
DOI: 10.3138/ctr.188.012.
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