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This essay draws upon the work of Judith Butler, Sara Ahmed, and Germaine Greer to consider the #MeToo movement and its reflection in the work of the author's students and the scandal at Dublin's G...
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In early 2018, encouraged by the #MeToo movement sweeping the Western media landscape, Korean actor Park Younghee took to Facebook to write of her experiences of sexual harassment at the hands of a prominent theatre director and academic in the 1990s. While Younghee didn’t publicly name her abuser, it was not long before the social media machine identified Oh Tae Suk as the man she alluded to, and his world-renowned Geukdan Mokwha as the site of her abuse. Days later, prolific theatre director Kim Soo-hee made allegations of violence and sexual abuse against Lee Yoon-taek, the artistic director of the juggernaut theatre company Yeonhuidan Georipae, setting off a firestorm in the South Korean Media that has yet to die down. In South Korea, public performances of grief, allyship, and holding the government to account are hallmarks of democratic transformation. In this article, Park Younghee tells parts of her story to longtime collaborator Jeremy Neideck, and they attempt to weave a coherent narrative out of their yearlong discussion about the social, cultural, and political histories of Korea. This article seeks to illuminate, but not necessarily explain, the environments in which men like Lee Youn-taek and Oh Tae Suk were able to perpetrate abuse.
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This article explores what it means to apologize for misconduct in the #MeToo era through three examples from the Canadian theatre industry: a private apology (Randolph College for the Performing Arts), a public apology (Citadel Theatre), and an absent apology (Soulpepper Theatre). Understanding a public apology as a performative utterance meant to restore a community’s trust, this article suggests the importance of examining the paratexts generated by and around it that help it achieve its function. From policy revisions, to media interviews, to public forums, these materials and events are crucial in the meaning-making process in which a #MeToo apology is engaged, especially when the theatre community’s access to the apology itself is limited. The article concludes by situating its case studies in relation to issues of misconduct in theatre education and training institutions.
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Following revelations about sexual abuse in theatre and other entertainment industries in autumn 2017, this chapter explores the conditions which allow or
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Theatre administrators, artistic directors, and heads of programs from across Canada have a conversation about how institutional policies and cultures have shifted in the wake of #MeToo. The conversation features Kristian Clarke, Executive Director of the Dancer Transition Resource Centre (DTRC); Frédéric Dubois, Director of the French Section, National Theatre School; Melanie Dreyer-Lude, Chair of the Department of Drama at the University of Alberta; Weyni Mengesha, Artistic Director of Soulpepper Theatre; Alisa Palmer, Artistic Director of the English Section, National Theatre School; Kathryn Shaw, Artistic Director of Studio 58 at Langara College; and Jacqueline Warwick, Director of the Fountain School of Performing Arts, Dalhousie University. The participants reflect on the challenges of taking stock of the impacts and effects of a cultural movement that is still unfolding and the ways in which #MeToo has changed the relationship between training institutions and the performing arts industry.