NEW

Being there at the start of something great is magic. So, we made it our mission.

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MISSION

Thrown Stone cultivates artists and audiences through opportunity, education, and mentorship, emphasizing new work and unconventional approaches to repertoire. We are committed to integrity, inclusiveness, and using technology to serve the region with theatre of distinction.

VALUES

Cultivation

We cultivate artists through career development, education, and professional mentorship, with an emphasis on local emerging talent. We cultivate audiences primarily by presenting work that is new, unconventional, and daring — challenging expectations and inspiring new ideas. We also welcome community involvement in every aspect of our mission.

Innovation

We emphasize new and underrepresented work. Repertoire pieces may be chosen, but will be approached in an unconventional way. Artistic risk-taking is an essential expression of our values — every production is an incubator for new ideas.

Place

We believe our work is inseparable from the place where it grows. We honor and celebrate local character, culture, and history. All theatre is site-specific, and Thrown Stone will highlight local facilities and resources in our productions.

Collaboration

We seek input and partnerships to fulfill shared cultural visions. This is not limited to co-productions and fundraising — we value input from scientific, historical, sociological, environmental, and other experts in developing our work.

Integrity

We are committed to safety, compliance with laws and regulations, organizational transparency, and inclusivity for all collaborators and audiences.

Technology

We embrace technology as an enabler of artistic vision, operational efficiency, and audience development.

What’s in a name?

 

We named Thrown Stone after an allegory by the 17th-century philosopher, Benedict de Spinoza. Opposing Descartes’ conception of free will, he argued that like thrown stones, we are set in motion by “the impulsion of an external cause” and are “necessarily determined by some external cause to exist and operate in a fixed and determinate manner.”

So much for free will.

But Spinoza goes deeper. He asks us to imagine the stone is “capable of thinking and knowing, that it is endeavouring, as far as it can, to continue to move.”

Such a stone, being conscious merely of its own endeavour and not at all indifferent, would believe itself to be completely free, and would think that it continued in motion solely because of its own wish.

This is that human freedom, which all boast that they possess, and which consists solely in the fact, that men are conscious of their own desire, but are ignorant of the causes whereby that desire has been determined.

So, if we’re all thrown stones — already in motion at the inception of consciousness — what is our agency? What is our power to affect our trajectory? And what happens when stones inevitably collide? These are questions that theatre is uniquely equipped to address. The recognition of our shared “thrown stone” predicament is a lever for compassion, and finds its best expression in the live space between artist and audience.

If all this seems a little too grandiose, you could just say we thought “Thrown Stone Theatre Company” sounded cool.