Suggestion: Canadian Theatre Needs A New Funding Narrative

Jesse Lavercombe: “I think Canada needs a new narrative for itself that isn’t so much about buttressing a fortress or perfectly defining our national identity, but participating in a larger conversation. I’m not advocating for changes in CanCon regulations, and I’m certainly not advocating for less public funding (because it pays my rent, which in Toronto ain’t cheap), but those efforts shouldn’t come from a place of insecurity. Our public funding should be dedicated to raising the bar of our work and showing off that work to the world, not protecting us from the threat of our big brother to the south.” – Howlround

In Rome, Tourists And Locals Alike Rebel Against City Government That Can’t Provide Services

“[The Italian capital is] a city in a perennial state of disrepair, from its rubbish-strewn streets, potholes, scrappy parks and medieval buildings marred by graffiti to closed metro stations and buses that either never come or occasionally combust.” Yet taxes are high, and the per-night levy on tourists is the highest in Europe. Now people are demanding that the city government start giving them their money’s worth. – The Guardian

When What We Think Will Make Things Better Makes Them Catastrophically Worse

“Our very attempts to stave off disaster by introducing safety systems ultimately increases the overall complexity of the systems, ensuring that some unpredictable outcome will rear its ugly head no matter what. Complicated human-machine systems might surprise us with outcomes more favorable than we have any reason to expect. They also might shock us with catastrophe.” – The Atlantic

Beyond The Met’s Live In HD: Opera Companies All Over Bring Their Performances To Cinemas And The Web

“Since the Metropolitan Opera began broadcasting live to movie theaters, in 2006, companies from the Bolshoi to the Komische Oper Berlin have seen digital distribution as crucial to positioning themselves internationally. Only a handful of players have the standing and resources to create for cinema, and many organizations in Europe turn to free web streaming, but never before have opera houses had such freedom to produce their own content.” – The New York Times