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The Canada Council, the Regional Theatre System and the English-Canadian playwright, 1957-1975Buchanan, Douglas B. January 2000 (has links) (PDF)
No description available.
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Postmodern feminist readings of identity in selected works of Judith Thompson, Margaret Hollingsworth and Patricia GrubenMoser, Marlene Cecilia January 1998 (has links) (PDF)
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. / Arts, Faculty of / Theatre and Film, Department of / Graduate
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Le dialogue homosexuel dans Les feluettes de Michel Marc Bouchard /Duguay, Sylvain. January 1999 (has links)
No description available.
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Se mettre à mort, se mettre au monde, le meurtre dans trois pièces de la dramaturgie gaie québécoiseRozon, Brigitte January 1997 (has links) (PDF)
No description available.
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Cautious rebellion, a critical study of the Canadian historical play in EnglishHallett, David F. January 2000 (has links) (PDF)
No description available.
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Poetics of Denial: Expressions of National Identity and Imagined Exile in English-Canadian and Romanian DramasManole, Diana Maria 26 July 2013 (has links)
After the change of their country’s political and international statuses, post-colonial and respectively post-communist individuals and collectives develop feelings of alienation and estrangement that do not involve physical dislocation. Eventually, they start imagining their national community as a collective of individuals who share this state. Paraphrasing Benedict Anderson’s definition of the nation as an “imagined community,” this study identifies this process as “imagined exile,” an act that temporarily compensates for the absence of a metanarrative of the nation during the post-colonial and post-communist transitions.
This dissertation analyzes and compares ten English Canadian and Romanian plays, written between 1976 and 2004, and argues that they function as expressions and agents of post-colonial and respectively post-communist imagined exile, helping their readers and audiences overcome the identity crisis and regain the feeling of belonging to a national community. Chapter 1 explores the development of major theoretical concepts, such as nation, national identity, national identity crisis, post-colonialism, and post-communism. Chapter 2 and Chapter 3 analyze dramatic rewritings of historical events, in “1837: The Farmers’ Revolt” by the theatre Passe Muraille with Rick Salutin as dramaturge, and “A Cold” by Marin Sorescu, and of past political leaders, in “Sir John, Eh!” by Jim Garrard and “A Day from the Life of Nicolae Ceausescu” by Denis Dinulescu. Chapter 4 examines the expression of the individual and collective identity crises in “Sled” by Judith Thompson and “The Future Is Rubbish” by Vlad Zografi. Chapter 5 explores the treatment of physical and cultural borders and borderlands in Kelly Rebar’s “Bordertown Café”, Guillermo Verdecchia’s “Fronteras Americanas”, Petre Barbu’s “God Bless America”, and Saviana Stanescu’s “Waxing West”. The concluding chapter briefly discusses the concept of imagined exile in relation to other investigations of post-colonial and post-communist dramas and reviews some of the latest perspectives of national identity, reassessing this study from a diachronic perspective.
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Le théâtre de l’absurde québécoisQuévillon, Katy 05 1900 (has links)
Les années cinquante ont vu l'apparition d'un «théâtre d'avant-garde» en France, sous la
plume d'auteurs tels que Samuel Beckett, Eugene Ionesco, Jean Genet et Arthur Adamov. Au
Québec, le même phénomène s'est produit, mais l'étiquette officielle de «théâtre de l'absurde
québécois» n'a pas encore été prêtée à un corpus défini de pièces de théâtre.
Cette étude, dans un premier temps, effectue un repérage des caractéristiques intrinsèques
aux oeuvres du théâtre de l'absurde français, plus précisément celles des quatre auteurs mentionnes
ci-dessus, a l'aide d'ouvrages théoriques reconnus (notamment The Theatre of the Absurd de Martin
Esslin, Histoire du «nouveau théâtre» de Geneviève Serreau, Le Théâtre du nouveau langage de
Gilbert Tarrab et Le théâtre de dérision d'Emmanuel Jacquart). Les chapitres subséquents sont
consacrés a 1'analyse des oeuvres dramatiques québécoises Les Insolites de Jacques Languirand et
La répétition de Dominic Champagne, afin de vérifier l'occurence des mêmes traits, particuliers au
théâtre de dérision, et de montrer l'existence réelle de ce type de théâtre au Québec.
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Culturing performance: exploring performance elements in Québec folk cultureJamin, Kathryn Rose 17 December 2009 (has links)
This study explores performance elements in Quebec folk culture events in the context of evaluating the resources needed to construct studies in québécois theatre history for Anglophone students. Using the metaphor of history as a map that charts the landscape of the past and needs many layers of information to do so effectively, resources dealing with Quebec theatre history in English and in French are surveyed and underdeveloped areas are marked for future research. To deal with the unusual circumstance of a very low incidence of theatre practice in Quebec from 1606 until late in the 1800's, juxtaposed against the vibrant and international developments in the last 50 years, three instances of Quebec folk culture are investigated for their performance elements. That research is structured in accordance with the guidelines and definitions in Living Folklore (Sims & Stevens, 2005). Performance elements revealed through the study include full body synchronized movements, mask and costume, improvisation, role-playing, choral work and monologues. The relationship of these events to present-day québécois theatre is analyzed.
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Poetics of Denial: Expressions of National Identity and Imagined Exile in English-Canadian and Romanian DramasManole, Diana Maria 26 July 2013 (has links)
After the change of their country’s political and international statuses, post-colonial and respectively post-communist individuals and collectives develop feelings of alienation and estrangement that do not involve physical dislocation. Eventually, they start imagining their national community as a collective of individuals who share this state. Paraphrasing Benedict Anderson’s definition of the nation as an “imagined community,” this study identifies this process as “imagined exile,” an act that temporarily compensates for the absence of a metanarrative of the nation during the post-colonial and post-communist transitions.
This dissertation analyzes and compares ten English Canadian and Romanian plays, written between 1976 and 2004, and argues that they function as expressions and agents of post-colonial and respectively post-communist imagined exile, helping their readers and audiences overcome the identity crisis and regain the feeling of belonging to a national community. Chapter 1 explores the development of major theoretical concepts, such as nation, national identity, national identity crisis, post-colonialism, and post-communism. Chapter 2 and Chapter 3 analyze dramatic rewritings of historical events, in “1837: The Farmers’ Revolt” by the theatre Passe Muraille with Rick Salutin as dramaturge, and “A Cold” by Marin Sorescu, and of past political leaders, in “Sir John, Eh!” by Jim Garrard and “A Day from the Life of Nicolae Ceausescu” by Denis Dinulescu. Chapter 4 examines the expression of the individual and collective identity crises in “Sled” by Judith Thompson and “The Future Is Rubbish” by Vlad Zografi. Chapter 5 explores the treatment of physical and cultural borders and borderlands in Kelly Rebar’s “Bordertown Café”, Guillermo Verdecchia’s “Fronteras Americanas”, Petre Barbu’s “God Bless America”, and Saviana Stanescu’s “Waxing West”. The concluding chapter briefly discusses the concept of imagined exile in relation to other investigations of post-colonial and post-communist dramas and reviews some of the latest perspectives of national identity, reassessing this study from a diachronic perspective.
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