Relevant bibliographies by topics / Contemporary Canadian Theatre

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Contemporary Canadian Theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Contemporary Canadian Theatre"

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Lister, Rota Herzberg. "Anton Wagner ed. Contemporary Canadian Theatre: New World Visions." Theatre Research in Canada 11, no. 1 (January 1990): 105–8. http://dx.doi.org/10.3138/tric.11.1.105.

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Drennan, Barbara. "Theatre History-Telling: New Historiography, Logic and the Other Canadian Tradition." Theatre Research in Canada 13, no. 1 (January 1992): 46–62. http://dx.doi.org/10.3138/tric.13.1.46.

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A proliferation of sign-posts' dot the landscape of our contemporary discourse: 'postmodernism,' 'poststructuralism,' 'postcolonialism,' 'postindustrial'.... As we wearily anticipate yet another 'post' on the horizon, it becomes clear that what theatre researchers are experiencing is a significant epistemological shift which reflects a changing reality. Any change in the philosophy of knowledge will have a bearing on Theatre Historiography in Canada as elsewhere. This essay addresses this issue and outlines an 'other' theatre historiography which weaves the theories of Harold Innis and Marshall McLuhan into Michel Foucault's search for the 'rules of discourse' and Julia Kristeva's 'poetic-logic.' This exploration for historical discovery into English-Canadian theatrical discourse is mapped in relation to Alan Filewod's articulation of collective creation as a theatre-making process.
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Duchesne, Scott. ""A Golf Club for the Golden Age": English Canadian Theatre Historiography and the Strange Case of Roy Mitchell." Theatre Research in Canada 18, no. 2 (January 1997): 131–47. http://dx.doi.org/10.3138/tric.18.2.131.

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This article contends that through the work of academics committed to recording and discussing the efforts of the alternate theatre movement, the narrative of English Canadian theatre history was subsequently revised. As a result, two suppositions were established which form the implicit basis of much research into contemporary English Canadian theatre history. They are: (1) the significant development of an English Canadian dramatic literature by a movement of professional and postcolonial theatre-makers signaled the theatre's "coming of age", and therefore (2) a specific set of events from 1968 to 1975 constitute the "golden age" of English Canadian theatre history. The narrative as it stands, therefore, clearly and unfairly privileges the achievements of the alternate movement at the expense of numerous other, equally vital historical voices. This article will focus on a particular individual who serves as a prime example of this exclusion; the director and theorist Roy Mitchell (1884-1944).
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Lampe, Eelka. "Disruptions in Representation: Anne Bogart's Creative Encounter with East Asian Performance Traditions." Theatre Research International 22, no. 2 (1997): 105–10. http://dx.doi.org/10.1017/s0307883300020514.

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The avant-garde theatre director Anne Bogart has made her name in the U.S. theatre community through her deconstructions of modern classics such as the musical South Pacific (1984), Cinderella/Cendrillon (1988) after Massenet's opera, Büchner's Danton's Death (1986), Gorki's Summerfolk (1989), William Inge's Picnic (1992), as well as through her idiosyncratic and original dance/theatre ‘compositions’ developed collabortively with her company, the Saratoga International Theater Institute (SITI). Prominent among such compositions have been 1951 (1986) on art and politics during the McCarthy era, No Plays, No Poetry (1988) on Brecht's theoretical writings, American Vaudeville (1991), and The Medium (1993) on the writings of the Canadian media philosopher Marshall McLuhan. Bogart has been acclaimed for her astute directing of the work by contemporary playwrights, such as Paula Vogel, Charles Mee Jr. and Eduardo Machado.
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Harvie, Jennifer, and Richard Paul Knowles. "Dialogic Monologue: A Dialogue." Theatre Research in Canada 15, no. 2 (January 1994): 136–63. http://dx.doi.org/10.3138/tric.15.2.136.

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Michael Sidnell has drawn attention to the potential for dramatic monologue to be dialogic in ways that dialogue in the theatre rarely is, and he has pointed to a recent proliferation of dialogic monologue in Canadian theatre. This essay will examine the potentially dialogic function of monologue in some contemporary Canadian plays. Questions central to this examination will be: when is monologue dialogic, and what are the effects of dialogic monologue? Considering that the actor often stands indexicallyfor an autonomous subject which is easily conflated with the character the actor is playing, we are interested in looking at how the dialogism of the character's monologue might destabilize subjectivity. Looking at monologues from a range of contemporary Canadian scripts and performances, we will consider how the dialogic configuration of subjectivity affects gender, race, and sexuality. And considering that dialogism may be (as Helene Keyssar has argued it was for Bakhtin) "key to the deprivileging of absolute, authoritarian discourses," we are interested in what specific "authoritarian discourses" contemporary Canadian dialogic monologue deprivileges.
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Keeney, Patricia, and Don Rubin. "Canada's Stratford Festival: Adventures Onstage and Off." New Theatre Quarterly 25, no. 2 (May 2009): 187–94. http://dx.doi.org/10.1017/s0266464x09000281.

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The festival season in Stratford, Ontario, was fraught with an offstage drama which seemed to reprise that of thirty years ago, when an experiment with a triumviral directorate ended in dissension and near disaster. However, once the dust had settled, an interestingly balanced season emerged, mixing Shakespeare and Shaw, ancient Greek and modern tragedy, Beckett and balletic Moby Dick. Here Patricia Keeney and Don Rubin offer their assessment of a wide-ranging repertoire. Patricia Keeney is a poet, novelist and long-time theatre critic for the monthly journal Canadian Forum. She is a Professor of English and Creative Writing at Toronto's York University. Don Rubin is the founding editor of the quarterly Canadian Theatre Review, General Editor of Routledge's six-volume World Encyclopedia of Contemporary Theatre, and Director of the Graduate Program in Theatre Studies at Toronto's York University.
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Partington, Richard. "The Jupiter Theatre's Canadian Content and the Critics, 1951-1954." Theatre Research in Canada 18, no. 1 (January 1997): 59–88. http://dx.doi.org/10.3138/tric.18.1.59.

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The Jupiter Theatre (1951-54) was founded by actors Lorne Greene and John Drainie, and writer Len Peterson, who sought to establish a fully professional company in Toronto dedicated to the encouragement of Canadian playwrights, and the "emergence of a truly Canadian voice in the theatre." Their ideals were shared by the nationalist local radio critic Nathan Cohen. Of the fifteen plays produced during Jupiter's brief but significant lifetime four were Canadian-written: Socrates and The Blood Is Strong by Lister Sinclair, The Money Makers by Ted Allan and Blue Is for Mourning by Nathan Cohen. I will attempt to assess Jupiter's contribution to the development of that "Canadian voice" by looking at the plays themselves, their authors and, as far as can be deduced, their theatrical presentation by Jupiter. I shall measure my own response to the plays as texts against the responses of the contemporary Toronto critics, principally Herbert Whittaker of the Globe and Mail and Nathan Cohen on CJBC Views the Shows, a perusal of whose reviews formed the bulk of my investigation. Conversations with Jupiter alumni have helped to place these responses in a meaningful historic context. I shall also consider the subsequent contributions, if any, of the three playwrights to the Canadian theatre.
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Karpinski, Eva C. "Can Multilingualism Be a Radical Force in Contemporary Canadian Theatre? Exploring The Option of Non-Translation." Theatre Research in Canada 38, no. 2 (November 2017): 153–67. http://dx.doi.org/10.3138/tric.38.2.153.

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Recognizing the richness of multilingual theatre in Canada, this article argues that the choice of nontranslation as the absolute staging of multilingual hospitality carries the promise of a more radical cohabitation and offers both critical and reparative encounters with bodies that resist mainstream recuperation. Beyond multicultural accommodation of diversity, non-translation as a politicized choice is examined through examples chosen from contemporary Asian Canadian and Afro-Caribbean Canadian drama, as well as Indigenous performance. Specifically, the article analyzes the deployment of multilingualism “from below” (Alison Phipps’s term) in front of mainstream Anglophone audiences in such plays as debbie young and naila belvett’s yagayah.two.womyn.black.griots, Betty Quan’s Mother Tongue, and Monique Mojica’s Chocolate Woman Dreams the Milky Way. The decolonial practice of non-translation embraced by these playwrights contributes to the trend of “diversifying diversity” and promotes more balanced linguistic ecologies. Rather than softening the hard edges of difference in a global spread of equivalences, multilingualism “from below,” associated with minoritized languages and invisibility, embraces radical heterogeneity and incommensurability, radically confronting the meaning of ethnicized, hyphenated multiculturalism. However, at the same time, these forms of multilingualism throw into high relief the selective cultural politics of translation that privileges Canada’s official bilingualism
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Meerzon, Yana. "From melancholic to happy immigrant: Staging simpleton in the comedies of migration." Performing Ethos: International Journal of Ethics in Theatre & Performance 9, no. 1 (November 1, 2019): 23–35. http://dx.doi.org/10.1386/peet_00003_1.

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Abstract This article examines devices of comedy, laughter and dramatic humour as technologies of ethics when it comes to staging migration in contemporary theatre. Looking at a tragic farce Hunting Cockroaches (1985), written by the Polish theatre artist Janusz Głowacki during his American exile, and a domestic melodrama Kim's Convenience (2012), written by a Korean Canadian Ins Choi, this article examines comedy as a particular dramatic model that can challenge staging migrants as agentless and voiceless victims. It asks, what happens when theatre artists begin to use stereotype to stage the trauma of displacement? To what extent is comedy truly capable of rendering the complexity of migration? And how ethical can the comedic representation of a migrant be?
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McLeod, Kimberley. "Finding the New Radical: Digital Media, Oppositionality, and Political Intervention in Contemporary Canadian Theatre." Theatre Research in Canada 35, no. 2 (May 16, 2014): 203–20. http://dx.doi.org/10.3138/tric.35.2.203.

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Dissertations / Theses on the topic "Contemporary Canadian Theatre"

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Lachance, Lindsay. "Cultural Renewal in Aboriginal Theatre Aesthetics." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23425.

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The goal of this research is to shed light on current developments in the field of Aboriginal Theatre Studies. This investigation encourages the reader to look again at the ways in which elements of Aboriginal culture are manifesting in contemporary theatre. Aboriginal theatre is increasingly visible in Canada and its cachet is growing with both artists and audiences. As a result, culturally specific worldviews and traditional practices are being introduced to mainstream Canadian theatre audiences. Through interviews with practicing Aboriginal artists like Floyd Favel, Yvette Nolan and Marie Clements and through an exploration of their individual theatrical processes, this research has attempted to identify how practicing Aboriginal artists consciously privilege Indigenous ways of knowing in their approaches to creating theatre for the contemporary stage.
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McHugh, Marissa. "The Invasion of the Home Front: Revisiting, Rewriting, and Replaying the First World War in Contemporary Canadian Plays." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24235.

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The history of the Great War has been dominated by accounts that view the War as an international conflict between nations and soldiers that contributed to the consolidation of Canadian cultural and political independence and identity. In many cases, the War has assumed a foundational—even mythic—status as integral to the building of a mature state and people. Since the 1970s, however, there has been an efflorescence of Canadian plays that have problematized traditional representations of the War. Many of these plays are set on the home front and explore the ways in which the War, in the form of disease, disaster, and intra-communal in-fighting and suspicion, invaded Canadian home space. What they suggest is that the War was not simply launched against an external enemy but that the War invaded Canadian communities and households. This dissertation examines five of these plays: Kevin Kerr’s Unity (1918), Guy Vanderhaeghe’s Dancock’s Dance, Trina Davies’ Shatter, Jean Provencher and Gilles Lachance’s Québec, Printemps 1918, and Wendy Lill’s The Fighting Days, all of which were written and published after 1970. Ultimately, it demonstrates that these plays, by relocating the War to Canadian terrain, undertake an important and radical critique; they suggest that the understanding of the War should not be restricted to overseas conflicts or Canadian national self-definition but that it should be expanded to encompass a diversity of people and experiences in domestic and international settings. At the same time, this thesis recognizes these plays as part of an emergent, bourgeoning Canadian dramatic genre, one which attests to Canadians’ continued preoccupation with the War past.
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Young, Dale J. "BRIDGING THE GAP: DREW HAYDEN TAYLOR, NATIVE CANADIAN PLAYWRIGHT IN HIS TIMES." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1131125416.

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Sebestyen, John S. "Culture, Crisis, and Community: Christianity in North American Drama at the Turn of the Millennium." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1242080581.

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De, Wagter Caroline. "Mouths on fire with songs: negotiating multi-ethnic identities on the contemporary North american stage." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210237.

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A travers une étude interculturelle détaillée et comparée de la production théâtrale minoritaire canadienne et américaine, ma thèse cherche à mettre en lumière les les apports thématiques et esthétiques du théâtre multi-ethnicque nord-américain contemporain à la tradition anglo-américaine du 20ème siècle. Les communautés asiatiques, africaines et aborigènes sont retenues comme poste d'observation privilégié de l'expression esthétique de la condition multiculturelle postcoloniale dans le théâtre nord-américain de la période allant de 1972 à nos jours. Sur base d'un corpus de pièces de théâtre, ma recherche m'a permis de redéfinir les grandes articulations des notions d'hybridité, d'identité et de communauté/nation postcoloniale.

Through a detailed cross-cultural approach of the English Canadian and American minority theatrical production, my thesis aims to identify the thematic and aesthetic contributions of multi-ethnic North American drama to the Anglo-American tradition of the 20th century. My study examines North American drama from the vantage points of African, Asian, and Native communities from 1972 until today. Relying on a number of case studies, my research opened up new avenues for rethinking the notions of hybridity and identity in relation to the postcolonial community/nation.


Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

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Bouchet, Pauline. ""La fabrique des voix" : l'auteur et le personnage dans les écritures théâtrales québécoises des années 2000." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030057.

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Cette thèse de doctorat en études théâtrales propose d’étudier les modèles et pratiques d’écriture du personnage dans les écritures théâtrales québécoises des années 2000, et, à partir de cette analyse à la fois dramaturgique (études de pièces et définition d’une typologie des personnages) et génétique (entrée dans la fabrique de plusieurs auteurs pour comprendre comment ils créent leurs personnages), de définir la ou les figures de l’auteur dramatique dans ce contexte de création. La dramaturgie québécoise présente des survivances du personnage, quand d’autres ne cessent de le remettre en question. Mais loin de perpétuer un réalisme psychologique américain, les auteurs québécois des années 2000 mettent en scène des êtres profondément déterritorialisés dont la profondeur psychologique disparaît au profit d’une profondeur intertextuelle ou métathéâtrale. Ces personnages-créatures invitent à entrer dans la fabrique des auteurs pour interroger le partage des voix qu’ils opèrent afin de détourner un réalisme encore majoritaire dans les dramaturgies d’Amérique du Nord. À partir des pôles d’écriture du personnage que sont la langue, le corps, l’intertexte et la scène, la thèse analyse les pratiques d’écriture de plusieurs auteurs issus de générations et de formations différentes : Normand Chaurette, Daniel Danis, François Godin, Étienne Lepage et Larry Tremblay. Ces auteurs, qui doivent négocier sans cesse avec une altérité, qu’elle soit réelle (le contexte de production québécois invite les auteurs à échanger avec les autres actants du processus théâtral) ou fictive (les auteurs sont profondément habités par des autres qui parlent à travers eux), se trouvent démultipliés dans le processus d’écriture. Il semble alors que, face à cette démultiplication et à la difficulté de plus en plus grande pour l’auteur de faire entendre sa voix, les auteurs québécois choisissent le chemin de l’autopoïétique et exploitent dans leurs dernières créations leur moi d’auteur comme un matériau et comme un hyperpersonnage surplombant la fiction. C’est alors une voix de l’écriture unifiée, toujours aux limites de l’autofiction et de l’autobiographie, qui habite des dramaturgies qui ne seraient plus capables de faire advenir l’autre, un personnage entièrement détaché de la voix de son créateur
The purpose of this doctoral thesis in drama studies is to investigate the models and practices in character writing in Quebecois drama in the years 2000, and from this investigation, which will have both a theatrical approach – through the study of plays and the elaboration of a typology of characters – and genetic – by entering into the authors’ factory to understand how they create their characters –, to identify the figure(s) of the playwright in this creative context. In Quebecois playwriting, characters still survive, while they are constantly questioned in other writing contexts. However, far from perpetuating realism as it prevails in American character writing, Quebecois authors in the years 2000 create deeply deterritorialized characters whose psychological depth disappears to make room for intertextual and metatheatrical profoundness. These creature-characters invite us into the authors’ factory to examine the sharing of voices they perform so as to circumvent North American drama’s still dominant realism. The four poles of character writing – language, body, intertext and stage – will then allow us to analyze the writing practices of several authors who belong to different generations and followed different trainings: Normand Chaurette, Daniel Danis, François Godin, Etienne Lepage and Larry Tremblay. These authors, who constantly have to deal with an otherness whether it is real – the production contexts in Quebec lead authors to interact with the other actors of drama’s creative process – or fictional – authors are deeply inhabited by others who speak through them –, find themselves demultiplied inside the writing process. It then seems that, when facing this demultiplication and the growing difficulty to make their voice heard, authors in Quebec are chosing the path of autopoiesis and using their “I” as authors in their latest creations as a material and as a supercharacter which dominates fiction. The act of writing then acquires a unified voice, constantly on the fringe of autofiction and autobiography, which inhabits plays that would may no longer be able to bring forth the other, a character which would be entirely separated from its creator’s voice
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Hopton, Tricia. "Realizing the flexible imaginary : Canadian identity in contemporary theatre." Thesis, 2005. http://hdl.handle.net/2429/16529.

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Using Benedict Anderson's "Imagined Communities" and Michael Billig's "Banal Nationalism", this paper searches for Canadian identity in five contemporary Canadian plays. The plays are from writers of different ages, genders, ethnicities and parts of Canada, and span approximately 25 years. The dramatic texts include David French's "Jitters", Kelly Rebar's "Bordertown Café", Joan MacLeod's "Amigo's Blue Guitar", Djanet Sears' "Harlem Duet" and Camyar Chai, Guillermo Verdecchia and Marcus Youssef's "The Adventures of Ali and Ali and the Axes of Evil". The paper determines, after much exploration of the plays' characters and their actions, that flexibility is the notion reinforced as the Canadian ideal. The multicultural, liberal, egalitarian nation of Canada imagines itself as able to shift or change whenever necessary. With respect to individual identities, group dynamics and inhabited spaces, this flexibility is requisite for Canadian citizens. The mimetic nature of theatre suggests it maintains an important role in the continual quest to discern the Canadian identity. In mirroring society, the theatre offers a clear indication of the perspectives which dominate the imaginations of Canadian playwrights and, therefore, their plays. The theatre and society will continue to reflect one another; in Canada, they will do so with flexibility.
Arts, Faculty of
Theatre and Film, Department of
Graduate
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Berto, Tony. "Are We There Yet? Gay Representation in Contemporary Canadian Drama." Thesis, 2013. http://hdl.handle.net/10214/7372.

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This study acknowledges that historical antipathies towards gay men have marginalised their theatrical representation in the past. However, over the last century a change has occurred in the social location of gay men in Canada (from being marginalised to being included). Given these changes, questions arise as to whether staged representations of gay men are still marginalised today. Given antipathies towards homosexuality and homophobia may contribute to the how theatres determine the riskiness of productions, my investigation sought a correlation between financial risk in theatrical production and the marginalisation of gay representations on stage. Furthermore, given that gay sex itself, and its representation on stage, have been theorised as loci of antipathies to gayness, I investigate the relationship between the visibility and overtness of gay sex in a given play and the production of that play’s proximity to the mainstream. The study located four plays from across the spectrum of production conditions (from high to low financial risk) in BC. Analysis of these four plays shows general trends, not only in the plays’ constructions but also in the material conditions of their productions that indicate that gay representations become more overt, visible and sexually explicit when less financial risk was at stake. Various factors are identified – including the development of the script, the producing theatre, venue, and promotion of the production – that shape gay representation. The analysis reveals that historical theatrical practices, that have had the effect of marginalizing the representations of gays in the past, are still in place. These practices appear more prevalent the higher the financial risk of the production.
The author would like to sincerely thank Ann Wilson, Ric Knowles, Matthew Hayday, Alan Shepard, Sky Gilbert, Daniel MacIvor, Michael Lewis MacLennan, Conrad Alexandrowicz, Chris Grignard, Edward Roy, Brad Fraser, Cole J. Alvis, Jonathan Seinan, David Oiye, Clinton Walker, Sean Cummings, Darrin Hagin, and Chris Galatchian.
SSHRC, The Heather McCallum Scholarship, Lambda Prize for achievement in lesbian, gay, bisexual and trans-gendered studies.
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Basourakos, John. "Contemporary Canadian and Quebec theatre as an instructional medium for moral pedagogy." Thesis, 1996. http://spectrum.library.concordia.ca/2849/1/NN18373.pdf.

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Grondines, Véronique. "Les nouvelles représentations dramaturgiques de la femme au Québec (2000-2010) : Fanny Britt, Evelyne de la Chenelière et Jennifer Tremblay, un féminisme diversifié." Thèse, 2013. http://hdl.handle.net/1866/10697.

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Peut-on qualifier la dramaturgie féminine contemporaine québécoise de féministe ? Ce mémoire répond par l’affirmative. Il montre que la dramaturgie féminine québécoise actuelle participe d’une nouvelle prise de parole féministe, plus complexe et plus diversifiée que celle des années 1970-1980, et qui tend notamment à conjuguer discours social et poétique de l’intime. Chaque jour de Fanny Britt (2011), L’Imposture d’Evelyne de la Chenelière (2009) et La Liste de Jennifer Tremblay (2008) proposent en effet des éléments novateurs quant à la représentation dramaturgique de la femme, tournant autour de trois imaginaires significatifs : l’imaginaire médiatique, l’imaginaire maternel et l’imaginaire du rapport hommes-femmes. En comparant les pièces entre elles ainsi qu’à quelques pièces charnières des décennies antérieures, il sera démontré que Chaque jour, L’Imposture et La Liste proposent de nouvelles représentations de la femme dans le paysage théâtral et social québécois. Enfin, ce mémoire vise à déterminer si la prise de parole féministe de ces pièces correspond au féminisme de la troisième vague.
Can contemporary Quebec feminine drama be considered feminist? This master’s dissertation answers in the affirmative. It demonstrates that the new women’s theatre is still feminist, but more complex and more diversified than in the 1970s and 80s, as it tends to blend the intimate and the social. The plays of Fanny Britt (Chaque jour, 2011), Evelyne de la Chenelière (L’Imposture, 2009), and Jennifer Tremblay (La Liste, 2008), offer innovative elements in their dramatic portrayal of women, as they focus on three themes: the media, motherhood and men-women relations. By comparing the plays with one another, as well as with important plays from past decades, it will be shown that Chaque jour, L’Imposture and La Liste renew the representation of women in Quebec theatre and society. Finally, this dissertation will address the links between this contemporary feminist theatre and the third wave feminist discourse.
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Books on the topic "Contemporary Canadian Theatre"

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Robert, Wallace. Canada, staging a nation: Evolutions in contemporary Canadian theatre. [London]: Academic, 2002.

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Wallace, Robert. Staging a nation: Evolutions in contemporary Canadian theatre. London: Canada House, 2003.

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name, No. Performing national identities: International perspectives on contemporary Canadian theatre. Vancouver, BC: Talonbooks, 2003.

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Knowles, Richard. The theatre of form and the production of meaning: Contemporary Canadian dramaturgies. Toronto: ECW Press, 1999.

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Knowles, Richard Paul. The theatre of form and the production of meaning: Contemporary Canadian dramaturgies. Toronto: ECW Press, 1999.

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Wallace, Robert. Theatre and transformation in contemporary Canada. Toronto: Robarts Centre for Canadian Studies, 1999.

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Michael, Heinze, and Johnstone Neil, eds. Jewish facets of contemporary Canadian drama. Trier: WVT, Wissenschaftlicher Verlag Trier, 2008.

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Glaap, Albert-Reiner. Jewish facets of contemporary Canadian drama. Trier: WVT, Wissenschaftlicher Verlag Trier, 2008.

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Heinze, Michael. Love, sexuality, identity: The gay experience in contemporary Canadian drama. Trier [Germany]: Wissenschaftlicher Verlag Trier, 2007.

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Shakespeare, William. The tragedy of Macbeth: A facing-pages translation into contemporary English. Los Angeles: Lorenz Educational Publishers, 1995.

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Book chapters on the topic "Contemporary Canadian Theatre"

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Branach-Kallas, Anna, and Piotr Sadkowski. "Sharing Grief: Local and Peripheral Dimensions of the Great War in Contemporary French, British and Canadian Literature." In Personal Narratives, Peripheral Theatres: Essays on the Great War (1914–18), 121–33. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66851-2_8.

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Feltham, Kymberley. "Decolonising the Stage Reflecting on Mamela Nyamza in a Canadian-hosted South African performance festival." In African Theatre: Contemporary Dance, 45–66. Boydell and Brewer Limited, 2018. http://dx.doi.org/10.1017/9781787443150.004.

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"From National Subject to National Threat: The Representation of German-Canadians in Contemporary Canadian Theatre about the Great War." In Diversity and Turbulence in Contemporary Global Migration, 63–75. BRILL, 2013. http://dx.doi.org/10.1163/9781848881860_007.

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Gilbert, Helen. "Contemporary Aboriginal theater." In The Cambridge History of Canadian Literature, 518–35. Cambridge University Press, 2009. http://dx.doi.org/10.1017/chol9780521868761.028.

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