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Le théâtre québecois dans tous ses discours /Przychodzeń, Janusz, 1962- January 1997 (has links)
No description available.
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Le théâtre québecois dans tous ses discours /Przychodzeń, Janusz, 1962- January 1997 (has links)
This study is inspired by social discourse theory and sociocriticism of literature. it aims to describe an organizational system that informs theatre practice in Quebec and to go beyond aesthetic form, critical interpretation and institutional structure to reveal Quebecois theatre in its most synthesized form. / To comprehend the model's overall operation, three broad sectors of the theatre's sphere of activity were explored and juxtaposed: institution, reception and creation. For this purpose, a preliminary set of quantitative and discursive data was assembled from a study of the network of professional schools, associations, and festivals in the theatrical milieu. Following this, examination of a number of scholarly texts made it possible to observe the way in which these elements are linked together into a more comprehensive ideological structure, while analysis of a representative body of contemporary (1945--1990) Quebecois plays served to consolidate and refine these observations. / The central thesis of this work is that, at the level of the representation of the "world", there are a series of characteristics that may be thought of as the distinctive elements of Quebecois drama. In general, Quebecois theatre feeds off the denial of the theatrical in order to present itself to the spectator as a site of an impossible theatricality. This dynamic inscribes itself in sociocultural representation in general, and is perceived both in the spatio-temporal dimension of the play, and in the structure of dramatic character and dramatic conflict.
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The oral sage: a comparative study of Franco-Ontarian drama from 1970 to 2000 /Chevrier, P. Michel, January 1900 (has links)
Thesis (Ph. D.)--Carleton University, 2004. / Includes bibliographical references (p. 348-368). Also available in electronic format on the Internet.
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"To be or not to be free" : nation and gender in Québécois adaptations of ShakespeareDrouin, Jennifer January 2005 (has links)
At first glance, the long tradition of Quebecois adaptations of Shakespeare might seem paradoxical, since Quebec is a francophone nation seeking political independence and has little direct connection to the British literary canon. However, it is precisely this cultural distance that allows Quebecois playwrights to play irreverently with Shakespeare and use his texts to explore issues of nation and gender which are closely connected to each other. Soon after the Quiet Revolution, adaptations such as Robert Gurik's Hamlet, prince du Quebec and Jean-Claude Germain's Rodeo et Juliette raised the question "To be or not to be free" in order to interrogate how Quebec could take action to achieve independence. In Macbeth and La tempete, Michel Garneau "tradapts" Shakespeare and situates his texts in the context of the Conquest. Jean-Pierre Ronfard's Lear and Vie et mort du Roi Boiteux carnivalize the nation and permit women to rise to power. Adaptations since 1990 reveal awareness of the need for cultural and gender diversity so that women, queers, and immigrants may contribute more to the nation's development. Since Quebec is simultaneously colonial, neo-colonial, and postcolonial, Quebecois playwrights negotiate differently than English Canadians the fine line between the enrichment of their local culture and its possible contamination, assimilation, or effacement by Shakespeare's overwhelming influence, which thus allows them to appropriate his texts in service of gender issues and the decolonization of the Quebec nation.
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"To be or not to be free" : nation and gender in Québécois adaptations of ShakespeareDrouin, Jennifer January 2005 (has links)
No description available.
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L'activité dramatique à Montréal de 1890 à 1900Larrue, Jean-Marc January 1979 (has links)
No description available.
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The Canada Council, the Regional Theatre System and the English-Canadian playwright, 1957-1975Buchanan, Douglas B., January 1900 (has links) (PDF)
Thesis (Ph. D.)--Université de Montréal, 2000. / Includes bibliographical references.
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L'activité dramatique à Montréal de 1890 à 1900Larrue, Jean-Marc January 1979 (has links)
No description available.
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Danceland: a production recordCairns, Glen 05 1900 (has links)
The thesis is a record of the writing and
rehearsal process which led to the British premiere of
the full length Canadian play, Danceland, at The Old
Red Lion Theatre, London, in November of 1994. The
first chapter is a discussion of the dramatic theories
and historical research which informed the initial
creative writing process. The second chapter is the
final draft of the play itself. The third chapter is a
record of the rehearsal and production process, as well
as an overview of the major dramaturgical problems
which the actors, director and designers encountered
during rehearsals of the play. A full cast and crew
list and the reviews from the British press are
contained in the appendices.
The playwright's "experiment" which sits at the
heart of this production record is that Aristotle's
idea of "place" is essential to the creation of an
indigenous, Canadian dramatic literature. The writing
process, however, is only the beginning of the
translation of drama from the page to the stage; and it
is this final, rehearsal and production process which
demands that all dramatic theory be placed within the
context of believable characterization and dramatic
action.
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Le dialogue homosexuel dans Les feluettes de Michel Marc Bouchard /Duguay, Sylvain. January 1999 (has links)
This thesis proposes to apply Queer theory as the framework for examining Michel Marc Bouchard's play Les Feluettes. This study is built around two methodological axes, one being the analysis of dialogue; the second, the application of Queer theory. Dialogue and staging are scrutinized in an effort to discover the Queer. The links between sex, power, language and knowledge will be specifically studied. The intention is to show how their relationship, based on opposition, can be modified by a subversive discourse. By way of introduction, a brief discussion of Queer theory will be presented to familiarize the reader with its origins, sources of inspiration and strategies of deconstruction. The first chapter will focus on the homosexual's interior monologue. Chapter two will focus on the homosexual's dialogue with other homosexuals. The third, and final chapter, will round out the analysis by studying the dialogue between the homosexual and heterosexuals. (Abstract shortened by UMI.)
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