Acknowledgements

I would first like to thank the people that helped me to complete this thesis research, without them this thesis would not be possible;

My supervisor Dr. Pil Hansen for guiding me on strategic thinking and mentoring me not be scared of voicing my opinions as woman in the academia,

My co-supervisor April Viczko for helping me breathe while making me laugh throughout this process, and giving me practical solutions to seemingly complicated problems,  

Dr. Bruce Barton for teaching me to be patient in this creative process, maintaining the sense of humor, as well as the importance of being generous with my fellow collaborators,

Sarah Banister for all the snacks she gave me when she noticed my sugar was low and my accent was stronger,

Colin Wesley for helping me with grammar,

Graham Frampton and Travis Hatt for all the help and friendship,

Gabriele Kuzabaviciute and Avril Lopes for the understanding friendship, and being locked out of Craige Hall at 03 am after painting the stage floor for 12 hours,

Zach Savage for randomly be walking by Craige Hall at that time and opening the hallway door for us,

Amabilis de Jesus, Dorita Hannah and Britt Van Groningen for being inspirational performance designers, and introducing me to materials that helped in the completion of this thesis, 

Bon Adriel for checking if I am alive and being mad at global warming, 

David Ledo for teaching me about 'coding',

All the technical team at SCPA for trying to support my process, especially to Lisa and Halina for understanding me, 

To all my cohort of classmates for the journey and coffee breaks,

Raissa Castor, Jessica Souza and Amanda Olsen for the brasilidades in the middle of the winter,

All my fellow artistic collaborators for exploring and further developing my proposals,

Swallow-a-Bicycle Theatre, Pam Tzeng, and Kodie Rollan for beliving in me, 

Last but not least I invite you to read out loud this last part as I would like to take this opportunity to acknowledge the traditional territories of the people of the Treaty 7 region in Southern Alberta, which includes the Blackfoot Confederacy (comprising the Siksika, Piikani, and Kainai First Nations), the Tsuut’ina First Nation, and the Stoney Nakoda (including the Chiniki, Bearspaw, and Wesley First Nations). The City of Calgary is also home to Métis Nation of Alberta, Region III.  

I also would like to acknowledge the traditional territories where I was born and raised, Curitiba, Paraná - Brasil. Curitiba is an indigenous word from the Tupi-Guarani language branch that means "the land with a lot of pine trees". Paraná is also an indigenous word from Tupi-Guarani and it means "arm of the river, similar to the sea". The state we now know as Paraná is home to the traditional territories of the Guarani people (including the Mbyá, Nhandéva, e Kaiová), the Kaingang people, and the Xetá people.

 

 

 

 

 

 

 

 

 

 

 

Dedications

Para:

Meus avós; Lygia e Guy por me apoiarem com amor e admiração,

Bruno, Diego, Tatianna, Paulo, e Renata por todo o carinho e suporte,​

Javã e Maria Aparecida, a perda de vocês me ensina tanto sobre crescer,​

Cia Café Preto e Grupo Nômade de Teatro por continuarem a resistir nas discotecagens ad hoc,

Gui por todos afogamentos, 

Aline por ajudar a me desconstruir,

Aos meus professores da Faculdade de Artes do Paraná por todo o pensamento crítico​ e me terem me ensinado tanto com tão pouco,

sem vocês, não seria quem eu sou.​

Bianca Manuel

Performance Designer based in Calgary, Canada

Bianca Guimarães de Manuel is currently the Design and Professional Development Intern for Swallow-a-Bicycle. She is now finishing her MFA in Drama/Technical Theatre at SCPA at the University of Calgary. 

Latest Works

2018

Selling the best idea of yourself

TEDxYYC

2018

Se-pa-ra-tism

TJGLAB

2018

Conduct

University of Calgary