{"id":31997,"date":"2026-09-23T16:54:02","date_gmt":"2026-09-23T20:54:02","guid":{"rendered":"https:\/\/siminovitchprize.com\/?p=31997"},"modified":"2026-09-24T10:55:49","modified_gmt":"2026-09-24T14:55:49","slug":"emerging-perspectives-miriam-fernandes","status":"publish","type":"post","link":"https:\/\/siminovitchprize.com\/fr\/emerging-perspectives-miriam-fernandes\/","title":{"rendered":"Perspectives \u00e9mergentes: Miriam Fernandes"},"content":{"rendered":"\t\t
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\u201cI\u2019m in the tempest of a two-year-old,\u201d says Miriam Fernandes, laughing about living with a toddler. \u201cI\u2019m trying to adjust to life as an artist with a tempestuous being around, who also brings tons of joy and love\u2026\u201d\u00a0<\/span><\/p>

Fernandes juggles many roles: mother, creator, director, performer, and co-Artistic Director of Why Not Theatre<\/a>, where she works with Siminovitch Prize Laureate Ravi Jain<\/a>, who selected her as the Prot\u00e9g\u00e9 for 2025. Amidst this joyous tempest, she says being part of the Siminovitch community has brought her some inner calm and confidence, a sense that \u201cI don\u2019t need to keep looking to other people.\u201d The honour was also a welcome acknowledgement of her multifarious contributions, as she shifts away from acting to focus on directing.\u00a0<\/span><\/p>

Born and raised in Toronto, Fernandes has always been an artist who \u201cstraddles borders and doesn\u2019t just do one thing.\u201d After studying at York University<\/a>, she trained with SITI theatre<\/a> in New York, then enrolled in the renowned Ecole Internationale Jacques Lecoq<\/a> in France. She credits Lecoq with introducing her to a holistic vision of the artist, quoting him as saying: \u201c\u2019I want my students to be rigourous theatre creators, and avid livers of life.\u201d His training inspires her to this day. \u201cLecoq was interested in the poetry of the body,\u201d she explains, \u201cThat unlocked how I work as a director and creator, helped me tap into something that was beyond my logical left brain thinking.\u201d<\/span><\/p>

\"Miriam
Miriam Fernandes in “What You Won’t Do For Love” by Tara Cullis, Miriam Fernandes, Ravi Jain, and David Suzuki at Why Not Theatre.<\/figcaption><\/figure>

That early experience also whetted her appetite for theatre that leapfrogs language and culture. Working outside your mother tongue awakens new sensibilities, she explains, letting you dive beneath the surface of the text. \u201cThere\u2019s rhythm, emotional dynamics, character dynamics\u2026 [As a director,] It allows me to find the real motor of the play in a more visceral way.\u201d\u00a0<\/span><\/p>

She recounts an inspiring example, during a workshop reading of <\/span>An Enemy of the People<\/span><\/i> by Norway\u2019s Henrik Ibsen, at Bergen\u2019s Den Nationale Scene<\/a>, where she maintains an ongoing directorial role. When the scripts were handed out around the table, she was surprised to discover the original was written in Danish, not Norwegian \u2013 or rather Dano-Norwegian, a hybrid dialect that grew out of Denmark\u2019s centuries-long cultural influence over Norway. \u201cAt that point, I could get by in Norwegian, but my Danish was nothing,\u201d she explains. Still, the actors could read Danish, so they decided to go ahead. \u201cIt unlocked a completely different dynamic, and a humour that was really true to the play. All the Norwegians around the table were laughing so hard, and I was like, whoa, I had no idea Ibsen was so funny. I was listening with a different ear. I was listening with my whole body.\u201d\u00a0<\/span><\/p>

Working multi-lingually remains a throughline in Fernandes\u2019 work. During a recent exploration of writing by Korea\u2019s Han Kang<\/a>, the character of the husband elicited strong negative reactions from the non-Korean female actors in the room, but the two Korean actors felt the translation didn\u2019t do justice to the original. So Fernandes asked them to improvise a scene in Korean. \u201cTheir entire bodies changed,\u201d she recalls. \u201cWe were all feeling for these two people in a complicated relationship. And it was amazing to see that immediately unlock, when these two people played in another language, and none of us spoke Korean.\u201d<\/span><\/p>

Fernandes\u2019 fascination with the drama to be found at the crossroads of language, body, and story, sustained her throughout the roughly ten years she, Ravi Jain, and their numerous collaborators worked on their stage adaptation of <\/span>The Mahabarata<\/span><\/i><\/a>, an epic of ancient India, and considered one of the longest poems ever written. \u201cCovid really prolonged the journey,\u201d she recalls, \u201cin a very helpful way actually, for the work, but in a painful way, while we were in it.\u201d\u00a0<\/span><\/p>

The acclaimed two-part theatrical work that resulted incorporates numerous musical styles, multiple languages, many forms of dance, and storytelling techniques that range from puppetry to video. It premiered at the Shaw Festival<\/a> in Niagara-on-the-Lake in 2023, and went on to runs in Toronto, Perth, and the Barbican<\/a> in London, before closing in 2025 at the Lincoln Centre<\/a> in New York. As usual, Fernandes played many roles. She was co-writer, performed the character of The Storyteller, and continued her gig at producing company Why Not Theatre, where, she jokes, she has done almost every job at least once.<\/span><\/p>

\"Miriam
Miriam Fernandes as The Storyteller in Why Not Theatre\u2019s “Mahabharata” (Shaw Festival, 2023). Photo by David Cooper.<\/figcaption><\/figure>

\u201cI found a kind of solace in the last couple of years of writing <\/span>Mahabarata<\/span><\/i>,\u201d she remembers. \u201cThe world changed so much, but the story stayed the same. It was a fixed point.\u201d Spending so many years on one sprawling, ancient narrative, then sharing it, night after night, with so many diverse audiences around the world, showed her how urgent the immemorial questions of the piece remain today. How do we release our hatreds, our anger, our urge for revenge, it asks. How, together, will we truly find peace?<\/span><\/p>

Fernandes seeks out that universality in every project. For her, it is at the centre of the theatrical act: to bring people together, through and over and across difference, in our increasingly divided time. Theatre, she says, is \u201ca disruption of the imagination. It changes what you think is possible in the world.\u201d<\/span><\/p>

Now that <\/span>Mahabarata<\/span><\/i> is over, she, Jain, and Why Not Theatre are asking themselves what stories are needed next, to \u201cheal our times and inspire us to actually shift the way we\u2019re living.\u201d \u201cWe\u2019re back in the empty space,\u201d as she puts it, quoting legendary theatre maker Peter Brook<\/a>.<\/span><\/p>

In fact, space in the literal sense is one of their hot topics, in an industry where ballooning costs can dampen artistic risk and quash institutional support for the next generation of creators. \u201cWe\u2019ve outpriced ourselves,\u201d she says. \u201cWe\u2019re theatre-makers who can\u2019t afford to make theatre in the buildings we run.\u201d So they\u2019re taking some time, over at Why Not, to contemplate new directions, not only in their own programming, but for the sector as a whole.<\/span><\/p>

Time is another rare commodity in our conventional theatre model, we agree, with its long hours, rare days off, and a production process often plagued by stress and haste. \u201cWe\u2019ve lost so many people over the past five, six years, coming out of Covid,\u201d Fernandes points out. She can\u2019t help comparing it to Bergen, where rehearsal days are shorter, maternity leave is a given, and everyone gets a summer holiday. But it\u2019s about more than just working conditions, she explains. It\u2019s about a more holistic approach to life. \u201cThat place smells like the sea,\u201d she says. \u201cYou can\u2019t help but be in relationship to nature\u2026 [you\u2019re] reminded that the stories you\u2019re telling are one thread of a huge tapestry of stories that these mountains and trees have witnessed.\u201d<\/span><\/p>

Meanwhile, back at home, Fernandes is embracing this time of reflection and search, an important, often-neglected part of the creative cycle. \u201cI\u2019m in a season of planting seeds,\u201d she says. \u201cAnd you don\u2019t know which seeds will grow, and which seeds will flop. I\u2019m excited, to just be in that place.\u201d<\/span><\/p>

Vanessa Porteous<\/a><\/em><\/p>

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\u00a0<\/h6>
Miriam Fernandes<\/strong> is Co-Artistic Director of the Toronto-based international company Why Not Theatre. Having worked primarily as a creator and performer for over a decade, Miriam is now turning her focus toward directing.<\/span><\/i><\/h6>
Vanessa Porteous<\/strong> (she\/her) is a theatre artist, teaching artist, and writer based in Calgary. From 2018 to 2021 she was Jury Chair for the Siminovitch Prize.<\/span><\/i><\/h6>
–<\/h6>
Top Photo: <\/strong>“Sangen fra Verdens Ende”, directed by Miriam Fernandes<\/em>, The National Stage, Bergen, Norway”<\/em><\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

\u00ab Je suis en plein tourbillon avec un enfant de deux ans \u00bb, dit Miriam Fernandes en riant \u00e0 l\u2019id\u00e9e de vivre avec un tout-petit. \u00ab J\u2019essaie de m\u2019adapter \u00e0 ma vie d\u2019artiste avec un petit \u00eatre turbulent \u00e0 mes c\u00f4t\u00e9s, qui m\u2019apporte aussi \u00e9norm\u00e9ment de joie et d\u2019amour\u2026 \u00bb <\/p>","protected":false},"author":17,"featured_media":32032,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[208,57],"tags":[124,167,168,148,147,126],"class_list":["post-31997","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-208","category-news","tag-canadian-theatre-artist","tag-contemporary-canadian-theatre","tag-emerging-theatre-artists","tag-siminovitch-emerging-artist","tag-siminovitch-prize","tag-siminovitch-prize-emerging-artist"],"acf":[],"yoast_head":"\nEmerging Perspectives: Miriam Fernandes - 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