Bibliografías temáticas / Contemporary Canadian Theatre

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Literatura académica sobre el tema "Contemporary Canadian Theatre"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 1 de febrero de 2022

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Artículos de revistas sobre el tema "Contemporary Canadian Theatre"

1

Lister, Rota Herzberg. "Anton Wagner ed. Contemporary Canadian Theatre: New World Visions." Theatre Research in Canada 11, no. 1 (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 (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 Marshal
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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 (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 1
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4

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,
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5

Harvie, Jennifer, and Richard Paul Knowles. "Dialogic Monologue: A Dialogue." Theatre Research in Canada 15, no. 2 (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
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Keeney, Patricia, and Don Rubin. "Canada's Stratford Festival: Adventures Onstage and Off." New Theatre Quarterly 25, no. 2 (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
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7

Partington, Richard. "The Jupiter Theatre's Canadian Content and the Critics, 1951-1954." Theatre Research in Canada 18, no. 1 (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
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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 (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 mu
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9

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 (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
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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 (2014): 203–20. http://dx.doi.org/10.3138/tric.35.2.203.

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Tesis sobre el tema "Contemporary Canadian Theatre"

1

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
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2

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
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3

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,
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6

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 que
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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
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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 product
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9

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 autou
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Libros sobre el tema "Contemporary Canadian Theatre"

1

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

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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Capítulos de libros sobre el tema "Contemporary Canadian Theatre"

1

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). 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. 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. 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. Cambridge University Press, 2009. http://dx.doi.org/10.1017/chol9780521868761.028.

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