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Of Jesuits and Bohemians
Jean-Claude Germain's second volume of Montreal memoirs chronicles his coming of age: his draconian Jesuit education on the fringes of the city's Red Light District, followed by his liberating discovery of the city's fevered bohemian community in the dying days of the Duplessis regime and Quebec's "grande noirceur." Here, on the cusp between two worlds, we meet fire-breathing clerics intent on putting the fear of God into young souls, and writers, painters, theatre directors and performers, determined at all costs, and at great sacrifice, to transform the society in which they live. It is this creative ferment that instils in the young Jean-Claude a passion for and a belief in artistic endeavour that will sustain him through all the years that lie in wait.
A History of Collective Creation
Collective creation - the practice of collaboratively devising works of performance - rose to prominence not simply as a performance making method, but as an institutional model. By examining theatre practices in Europe and North America, this book explores collective creation's roots in the theatrical experiments of the early twentieth century.
The History of World Theater
Felicia Londre explores the world of theater as diverse as the Entertainments of the Stuart court and Arthur Miller directing Chinese actors at the Beijing People's Art Theater in "Death of a Salesman." Londre examines: Restoration comedies; the Comedie Francais; Italian "opera seria"; plays of the "Surm und Grand" movement; Russian, French, and Spanish Romantic dramas; American minstrel shows; Brecht and dialectical theater; Dighilev; Dada; Expressionism, Theater of the Absurd productions, and other forms of experimental theater of the late-20th century.>
Dramatic Licence
Translation is tricky business. The translator has to transform the foreign to the familiar while moving and pleasing his or her audience. Louise Ladouceur knows theatre from a multi-dimensional perspective that gives her research a particular authority as she moves between two of the dominant cultures of Canada: French and English. Through the analysis of six plays from each linguistic repertoire, written and translated between 1961 and 2000, her award-winning book compares the complexities of a translation process shaped by the power struggle between Canada's two official languages. The winner of the Prix Gabrielle-Roy and the Ann Saddlemyer Book Award, Dramatic Licence addresses issues important to scholars and students of Translation Studies, Canadian Literature and Theatre Studies, as well as theatre practitioners and translators. The University of Alberta Press acknowledges the financial support of the Government of Canada, through the National Translation Program for Book Publishing, for our translation activities.
Native Shakespeares
Explored in this essay collection is how Shakespeare is rewritten, reinscribed and translated to fit within the local tradition, values, and languages of the world's various communities and cultures. Contributors show that Shakespeare, regardless of the medium - theater, pedagogy, or literary studies - is commonly 'rooted' in the local customs of a people in ways that challenge the notion that his drama promotes a Western idealism. Native Shakespeares examines how the persistent indigenization of Shakespeare complicates the traditional vision of his work as a voice of Western culture and colonial hegemony. The international range of the collection and the focus on indigenous practices distinguishes Native Shakespeares from other available texts.
Becoming Native in a Foreign Land
How did British colonists in Victorian Montreal come to think of themselves as “native Canadian”? This richly illustrated work reveals that colonists adopted, then appropriated, Aboriginal and French Canadian activities such as hunting, lacrosse, snowshoeing, and tobogganing. In the process, they constructed visual icons that were recognized at home and abroad as distinctly “Canadian.” This new Canadian nationality mimicked indigenous characteristics but ultimately rejected indigenous players, and championed the interests of white, middle-class, Protestant males who used their newly acquired identity to dominate the political realm. English Canadian identity was not formed solely by emulating what was British; this book shows that it gained ground by usurping what was indigenous in a foreign land.
The Cinema of Robert Lepage
The Cinema of Robert Lepage is the first critical study of one of the most striking artists of Quebecois and Canadian independent filmmaking. The book examines Lepage's creative methods of filmmaking in their cultural and social context and argues that his work cannot be seen separately from his oeuvre as a multidisciplinary artist and challenges the notions that Lepage should be considered only in the terms of Quebecois film tradition. The author explores such themes with Lepage in a new exclusive and detailed interview.
