bluuebunny/crossref_metadata_2025 huggingface dataset:
High Red Cell Distribution Width as a Biomarker of Mortality in Critically Ill Paediatric Patients
Authors: Gauchan Eva , Basnet Sahisnuta
Published: December 2020

Introduction: Red cell distribution width (RDW) is a frequently overlooked parameter in routine haematological reports. It is a simple and inexpensive test which has been found by many adult studies to be a prognostic indicator of mortality in intensive care units. The objective of this study was to see if high RDW could be used as a marker to predict mortality in critically ill children.

Methods: This was a prospective observational study conducted in the paediatric intensive care unit (PICU) of a tertiary hospital of Western Nepal over a period of one year. Study subjects were selected by purposive sampling method. RDW at admission and relative change in RDW (ΔRDW) was compared to see if they had any role in predicting mortality in this group of children. Receiver operating curve analysis was plotted to find an optimal cut-off point to define high and low RDW and various outcome parameters were analysed.

Results: Out of 131 children, there were 12 (9.1%) mortalities. Admission RDW was higher in the death group as compared to the survivor group (17 vs 14.6; p = 0.012). Similar finding was seen with ΔRDW (0.45 vs 0.00; p = 0.006). ΔRDW above the cut-off value of 0.15 was found to be associated with a generally more complicated course during hospitalisation as well as had more risk of mortality.

Conclusions: Both RDW and ΔRDW above the cut-off value were found to be associated with mortality. In addition, high ΔRDW was also found to predict a more complicated course during hospitalisation.
Teething Beliefs, Misconceptions, and Practices Among Mothers Attending a Tertiary Hospital in Nigeria: Implications for Child Health and Clinical Practice
Authors: Olatunya Oladele Simeon , Adeniyi Adewuyi Temidayo , Babatola Adefunke Olarinre , Fatunla Odunayo Tolulope , Olajuyin Oyebanji Anthony , Ogundare Ezra Olatunde , Komolafe Akinwumi Kolawole , Fadare Joseph Olusesan , Oyelami Oyeku Akibu
Published: December 2020

Introduction: Teething is a physiologic process that begins during infancy. However, some mothers often attribute certain symptoms to teething. In this study, we assessed the opinions and practices of mothers attending a tertiary health facility in Nigeria on teething.

Methods: This was a cross-sectional, descriptive study conducted among caregivers of children presenting to the out-patient department of a tertiary hospital, Southwestern Nigeria.

Results: Five hundred and sixteen mothers were studied. The leading symptoms attributed to teething were fever 420 (81.4%), reduced food intake / appetite 320 (62.0%), diarrhoea 314 (60.9%) and vomiting 294 (57.0%). Some believed that teething is associated with convulsion 102 (19.8%), mouth ulcers 69 (13.4%), ear discharge 68 (13.2%), and no symptoms 41 (7.9%). Majority of the mothers 374 (72.5%) believed that teething requires treatment. Two hundred and four (39.5%) mothers had given their children oral analgesics for teething while 194 (37.6%) administered teething mixtures. These medications were more likely to be prescribed at the hospital or purchased over the counter (p < 0.05). Other treatments given included herbal concoction 46 (8.9%), local tooth extraction 22 (4.3%), enema 17 (3.3%), body scarifications 14 (2.7%), gum fomentation 14 (2.7%) and gum incision 12 (2.3%). Responders who attributed convulsion to teething were more likely to have incised their children’s gums (p < 0.05).

Conclusions: This study revealed that sundry symptoms were attributed to teething and harmful home interventions were done for teething. There is a need to educate the society on teething and discourage harmful practices for teething by caregivers.
5. White Hair and Feeding Bottles: Exploring Interactions Between Children and the Elderly in the Late Bronze Age Aegean
Authors: Gallou Chrysanthi
Published: December 2020

Scholarship on age and gender in prehistoric Greece has taken an adult-centric approach with focus placed mostly on young to middle-aged men and women and, as a result, two significant age groups – children and the elderly – have been widely neglected. Lacking a strong insight into attitudes that were shown towards these two age groups, however means that archaeologists do not really harbour a concept of the whole span of life in the cultures that developed in the Aegean region during the Late Bronze Age. Making children and the elderly visible in the archaeological record and examining their social roles, agency and interactions is vital for a better understanding of the social workings of the prehistoric Aegean world. Integrating an interdisciplinary methodology with a systematic study of the available material remains – ranging from the study of funerary contexts to iconographic sources and textual references, this study seeks to assess the evidence for childhood and old age in the Late Bronze Age Aegean, and to shed light − for the first time − on the interactions between the younger and older segments of the population in both life and death from the mid-seventeenth to the twelfth centuries BC.
IMPLEMENTASI AKUNTANSI LINGKUNGAN SEKTOR PERUSAHAAN JASA
Authors: Ima Rahmawati  , Sulis Rochayatun
Published: December 2020

Tujuan dalam penelitian ini adalah untuk mengetahui bagaiamana penerapan akuntansi lingkungan yang ada di Hotel Kusuma Agrowisata Batu dan apabila dikaji berdasarkan PSAK 1. Penelitian ini menggunakan metode penelitian kualitatif deskriptif. Jenis data yang digunakan dalam penelitian ini adalah data primer melalui wawancara secara langsung dan data sekunder berupa sumber penelitian terdahulu, buku, jurnal, dan dokumen-dokumen perusahaan. Analisis data dalam penelitian ini melalui pengidentifikasian biaya lingkungan yang telah dikeluarkan dan memberikan kesimpulan berkaitan dengan penerapannya. Hasil dari penelitian ini adalah Hotel Kusuma Agrowisata Batu telah mengakui biaya lingkungan yang telah dikeluarkan menggunakan metode cash basis dan accrual basis. Pengukuran biaya lingkungan menggunakan konsep biaya historis dan satuan moneter. Hotel belum menyajikan secara khusus biaya lingkungan tersebut dalam laporan biaya lingkungan. Sedangkan dalam proses pengungkapan nya hotel telah mengalokasikan biaya berkaitan dengan pengolahan limbah padat pada pos biaya kebersihan, dan biaya berkaitan dengan pengolahan limbah padat serta B3 dialokasikan pada biaya engineering.
"It Was Our North Land That We Saw": Willard Mack and The Great Northwest
Authors: Skinner Ches
Published: December 2020

Willard Mack (a.k.a. Charles W. McLaughlin) was born in Ontario, Canada, in 1887 and at an early age moved to the United States where he spent most of his adult life involved in the theatre and film as a playwright, actor, and director. At the time of his death in Hollywood in 1934, Mr. Mack had written over forty plays, mostly adaptions of popular stories and novels or extensions of vaudeville pieces; none of them stands up to criticism and certainly none is to be found among the canon of great works, yet most of them were produced on Broadway and toured both the U.S.A. and Canada and placed the author in the company of the leading popular writers and performers of that time. Even though Willard Mack was an American, he maintained contact with Canada and chose to set a number of his plays, such as Tiger Rose and The Scarlet Fox in northern Alberta. This paper deals with Mack's image of the North in terms of his claimed connection to the region and the people he wrote about and portrayed.
Representations of the Inuit: From Other to Self
Authors: Grace Sherrill
Published: December 2020

This essay compares the representation of Inuit people and culture in five plays by non-Inuit, southern playwrights and three plays by Inuit in an effort to trace the construction of identity and the gaze in the context of writing for the theatre. Considered in chronological sequence, these eight plays demonstrate some of the important shifts in representation and ideological investment that occurred between 1967 and 1986.
Carol Bolt, editor; Tim Bolase, Compiler. Who Asked Us Anyway?: A Collection of Plays Celebrating the First Twenty Years of the Labrador Creative Arts Festival
Authors: Hunt Rosemary
Published: December 2020

Readers of Who Asked Us Anyway? should never forget, while proceeding through the twenty-five students' plays in the anthology, that this volume results from the enduring commitment of the Labrador Creative Arts Festival to creativity, especially in drama, and the strong belief of many of the region's adults and school-students in the power and value of students' writing, especially in play-making. Finding the money to print this large 365 page collection may have been a Herculean task, but its very existence serves as an impressive tribute to the both the Arts Festival, which continues to flourish after almost a quarter of a century, and to the thousands of school-students in Labrador who have been given the chance to write and perform in their own original plays under its aegis.
Introduction: Portraits of the Artist: Plays by Canadian Women
Authors: Zimmerman Cynthia
Published: December 2020

Voici l’introduction à «Portraits of the Artists» [Portraits d’artistes], cinq articles sur des pièces écrites par cinq dramaturges canadiennes. Les chercheuses ayant participé à ce collectif examinent des pièces qui ont voulu tracer le portrait de cinq femmes artistes. L’introduction est le lieu d’une réflexion sur les questions qui se posent lorsque l’on dramatise le vécu d’autrui, et surtout, de femmes artistes pour qui les règles sont dictées par le sexe.
Notes from an Actor-Playwright: Song of This Place… A Playbased on the Life of Emily Carr1
Authors: Coghill Joy
Published: December 2020

Song of This Place est une pièce sur Emily Carr écrite par Joy Coghill, comédienne chevronnée et pionnière. Dans cet article, Coghill évoque les luttes qu’elle a dû mener pour saisir l’esprit de Carr, cette femme formidable qui a su surmonter d’incroyables obstacles pour devenir l’une des artistes les mieux connues du Canada. Qu’y a-t-il de cette femme, se demande Coghill, qui a su inspirer tant d’autres artistes? Dans Song of This Place, Coghill confronte l’icône en racontant l’histoire d’une comédienne qui souhaite interpréter le rôle d’Emily Carr; Carr s’y oppose. De cette lutte, explique Coghill, est née «une nouvelle forme de théâtre extraordinairement exigeante et très satisfaisante.»
Perry and Other Voices
Authors: Winter Jack
Published: December 2020

«Perry And Other Voices» [Perry et d’autres voix] est le récit très personnel d’un partenariat qui s’est échelonné sur plusieurs décennies entre des gens en théâtre des deux côtés du Rideau de fer.
Présentation
Authors: Barton Bruce
Published: December 2020

Ce numéro double de Recherches théâtrales au Canada marque la fin d’une période de production au cours de laquelle nous avons publié en quinze mois tous les numéros des trois dernières années. Lorsque nous aurons distribué dans quelques mois le quatrième et dernier numéro double, qui portera sur le théâtre du Canada atlantique, nous aurons enfin rattrapé notre retard et pourrons reprendre un rythme de publication normal en produisant deux numéros simples par année. Le rythme que nous avons adopté ces quinze derniers mois, le taux de roulement dans l’administration, l’orientation et la conception de la revue, tout cela a été à la fois un défi de taille et une source d’énergie. Ce numéro général montre bien à quel point nos paramètres sont en constante évolution : encore plus riche en matériel visuel, vous y trouverez toute une gamme de sujets d’étude, d’approches théoriques et de perspectives critiques.
Women in Theatre: Here, There, Everywhere, and Nowhere
Authors: Burton Rebecca , Green Reina
Published: December 2020

This article examines the status of women in theatre in the early twenty-first century and determines that while there has been some improvement in Canada in the last twenty-five years,women still lag behind men in terms of employment in key creative positions Studies show that only 30-35% of the nation’s artistic directors are female and that this limits the production of work by female playwrights and the hiring of female directors. Problems are further exacerbated where there is limited provincial and corporate funding, as in Atlantic Canada. Little money, combined with a greater likelihood that work by female playwrights will be defined as risky and less attractive for sponsors and mainstream theatres, further restricts opportunities for women in theatre. Women also identify traditional hierarchical practices in the theatre industry and social policies, which fail to provide parental leave for self-employed workers or adequate publicly-funded daycare, as barriers to their participation.While increased government funding would help all theatre professionals, including women, and women can support one another through networking andmentorship, the theatre communitymust actively identify and change the practices that lead to gender inequity.
Word from the Editor
Authors: Nichols Glen
Published: December 2020

In our business, there are often hard acts to follow. As new editor for Theatre Research in Canada / Recherches théâtrales au Canada, I certainly have the most humbling of roles following in the footsteps of a long line of first-class editors, not least of which is my immediate predecessor, Bruce Barton, who, in addition to continuing the excellence of TRIC content for the past four years, oversaw the complete re-visioning of the look of the journal.All of us in this field who depend on TRIC owe Bruce our deepest appreciation and gratitude for the work he has accomplished. Fortunately for all of us Bruce is not leaving the journal, but will be assuming the tasks of Executive Editor to keep everything running smoothly and to ensure the continued excellence of the journal. My role is also made possible only through the seemingly inexhaustible contributions of the office assistants, this year Birgit Schreyer Duarte and Barry Freeman. Without their superior skills and formidable dedication, the journal could not see the light of day. Also keeping this show on the road is house translator, Sonya Malaborza, French-language associate editor, Louise Ladouceur, and the managing editor, Stephen Johnson, who as chair of the management board gives the journal the security of consistent and transparent governance.
The Impossible Theatre: Roy Mitchell and The Chester Mysteries: Experience, Initiation and Brotherhood
Authors: Duchesne Scott
Published: December 2020

This article considers the influence of Theosophy in the theatre work and theory of director Roy Mitchell (1884-1944). Mitchell’s apparently prescient theories concerning mise en scène, motion in acting and the communal role of the audience in the experience of theatre in his popular book Creative Theatre (1929) has led scholars such as Mavor Moore and Renate Usmiani to compare Mitchell’s work with that of Antonin Artaud, Bertolt Brecht, Peter Brook, and Jerzy Grotowski. What has been neglected, however, is Mitchell’s conviction that theatre is a "medium of revelation" that allows for the universal and, most importantly, the "creative," vital spirit or soul to manifest itself in the material world and to foster the "great end" he called the paradosis; this he defined as a "recreating instant" in which the senses are filled with "form and sound," the emotions stirred "to sympathy," and ideas shaped "to one intense accord." This event makes for the witness "a causeway into an inner world where they rested in a lightning flash of communion." In this way Mitchell envisioned the re-creation of an idealized,"ancient" form of performance, by way of the confluence of theosophical and theatrical practice, in an effort to "proclaim the immortality of the souls of all created things, to restate the law of the cyclic return of souls and of the effects of the deeds of souls, to enunciate the doctrine that all religions, philosophy and science at their highest emanated from a body of custodians of the wisdom of the race."
Canadian Theatre and the Tragic Experience of Evil
Authors: Corey Paul
Published: December 2020

This essay examines the relevance of the tragic account of evil for Canadian theatre in the shadow of the contemporary "war on terror." It concentrates on two important aspects of the ancient Greek depiction of evil in tragedy: (1) that no agent, human or divine, is either absolutely good or absolutely evil; and (2) that evil, understood as the experience of dread, cannot be exterminated but can, at best, be kept within limits. In other words, the tragic account of evil is neither"melodramatic" nor"eschatological." The essay then discusses three recent Canadian plays that address current moral and geo-political issues: The Adventures of Ali & Ali and the aXes of Evil by Marcus Youssef, Guillermo Verdecchia, and Camyar Chai; Capture Me by Judith Thompson; and Insomnia by Daniel Brooks with Guillermo Verdecchia. Through these works, this essay explores how the experience of evil is currently being depicted and considers the possibilities for a new type of tragic theatre in Canada.
Le théâtre et sa doublure: Le testament du couturier de Michel Ouellette
Authors: Nutting Stéphanie
Published: December 2020

Avec Le testament du couturier de Michel Ouellette, le théâtre franco-ontarien s’engage dans une voie nouvelle. Située dans un monde futuriste, qui n’est pas sans rappeler The Handmaid’s Tale de Margaret Atwood, et évacuée du référent ontarien, la fable remplace la ville rurale par « la Banlieue » et l’angoisse devant le récit fondateur par la peur de l’avenir. La présente analyse a pour but d’explorer ce déni du principe mimétique en faveur d’un espace fictionnel hautement métaphorisé. La robe se présente désormais comme le site d’une interrogation.Non seulement artefact de la contrebande qui stimule les pulsions érotiques,mais aussi « texte-textile », elle se présente comme une peau chatoyante investie de significations complexes, comme le revêtement d’une mémoire historique et mythique. Mais la robe est aussi indissociable de son effet–le désordre social–participant ainsi de ce qu’Artaud avait nommé le « théâtre de la cruauté », car si elle ouvre la voie à une liberté radicale, elle le fait au coeur même de l’angoisse. Aussi la pièce de Ouellette permet-elle au théâtre francoontarien de dialoguer avec le théâtre de l’Occident, renouvelant ainsi des problématiques qui lui sont chères: l’altérité, l’aliénation, l’individualisme, la communication suspecte ou viciée et la nature fragile des communautés.
De French Town au Testament du couturier: la critique face à elle-même
Authors: Hotte Lucie , Melançon Johanne
Published: December 2020

Les littératures minoritaires, telle la littérature franco-ontarienne, sont souvent lues et interprétées en fonction d’une grille de lecture identitaire qui établit une corrélation entre l’oeuvre lue et le contexte socioculturel d’où elle émane.Ce fut le cas des premières oeuvres de Michel Ouellette, dont sa pièce French Town. Or, certains théoriciens et critiques des écritures minoritaires ont dénoncé cet état de fait. Cet article cherche à déterminer si la critique a effectivement délaissé une telle grille de lecture. Pour ce faire, les auteures analysent et comparent la réception critique de French Town à celle du Testament du couturier.
Parcours sous influence
Authors: Ouellette Michel
Published: December 2020

Àdeux reprises dans les dernières années, j’ai eu l’occasion d’entendre des communications surmon oeuvre dans le cadre de colloques universitaires. Chaque fois, la sensation était étrange de se trouver dans une salle pour entendre un chercheur présenter le fruit de ses recherches surmon théâtre. C’était commeme regarder dans un miroir et découvrir de nouveaux aspects de mon visage.
Michel Ouellette, Stitch by Stitch: Introduction
Authors: Ladouceur Louise
Published: December 2020

This collection of articles results from a session on Franco-Ontarian literature that Patrick Leroux and I organized inMay 2005 at the University ofWestern Ontario and that was presented during a conference held under the auspices of the Association for Québec and Canadian Literatures and the Association for Theatre Research in Canada. What was striking about this panel was that all the papers that were presented, covering the drama of Michel Ouellette, examined his play Le testament du couturier with particular insistence. It seemed to me that this play marked a turning point in the elaboration of a Franco-Ontarian dramatic repertoire and this collection of articles is published in order to underline its significance.Viewed in this light, the three articles and the self-critical analysis that follow constitute a kaleidoscope of readings that centre upon this play.
Transmitting Transactive Pedagogy: A Dilemma of Pre-Service Teacher Education in Drama
Authors: McLauchlan Debra
Published: December 2020

Optimal conditions for teaching drama include a transactive orientation to pedagogy; however, factors associated with the structure of the pre-service teacher education program hamper the implementation of transactive methods in my teacher education classrooms. This self-reflective article describes the problem from the author’s perspective as an Ontario pre-service teacher educator.
Drama, Role Theory, and Youth: Implications for Teacher Education
Authors: Conrad Diane
Published: December 2020

This paper examines the music/performances of popular Rap artist Eminem to discuss the way that role theory, as developed by Jacob Moreno through his work in psychodrama, is reflected in Judith Butler and Debra Britzman’s poststructuralist conceptions of identity.Role theory has exciting implications for teacher education— both for teachers doing drama with youth and for student teachers engaged in developing their roles as teachers. Performative explorations, through which spaces are opened for creative agency and the negotiation of identities, can become empowering occasions.
Introduction
Authors: Belliveau George , Chaîné Francine
Published: December 2020

This guest-edited issue of TRIC gathers a selection of essays by university researchers interested in further investigating drama/theatre education. These researchers came together in the spring of 2005 during theACTR(nowCATR) conference in London, Ontario to examine issues pertaining to the preparation of k-12 theatre teachers.This complex endeavour of facilitating an environment for future k-12 teachers to learn how to transmit their understanding of theatre and drama to children becomes the focal point in these research essays.What are some of the critical issues we should consider in our preparation of future primary and/or secondary teachers?What are some of the unique challenges of preparing future teachers to teach theatre in diverse learning environments? What kinds of university environments exist or could exist in preparing future theatre teachers? The authors address these questions, among others, fromvarious perspectives.
The Bus Project: Technologies, Spectators and Locational Practices
Authors: Irwin Kathleen
Published: December 2020

This paper interrogates the claim made by many users of supertechnologies in the field of theatre entertainment that these trappings redefine audience perception in entirely new ways.What this explosion fails to address is the relationship between technology and the spectating body and how interactivity poses questions that address the specificities of the spectator in the twenty-first century. In relative magnitude, The Bus Project described here, was low tech. Nonetheless, it illustrates the use of interactive technologies in integrating performance into our everyday lives, how new audiences may be reached and how preconceived notions of spectatorship and identity may be productively troubled through locational and site-specific practices.
Présentation
Authors: Levin Laura , Houston Andy
Published: December 2020

Ce numéro réunit des travaux de recherche récents sur la question de l’espace dans le théâtre canadien en accordant une importance toute particulière aux croisements de l’espace et de la subjectivité. Chacun des articles contribue aux passionnants échanges qui ont lieu en études théâtrales et en théories de la performance sur les façons dont l’espace d’une représentation peut ouvrir des lieux féconds pour la découverte des limites du Soi dans lemonde contemporain.
Free Fall: the STATE of Interdisciplinary and Experimental Performance: (a netless net)
Authors: Stedman Sam
Published: December 2020

What status does experimental and interdisciplinary performance currently have, and where might its future lie? Into what relationship( s) with various forms of institutionality has it settled, and what impact(s) might this have on its present and future development? Is its support by the Canada Council simply an entrenchment of its marginality? This paper is a meditation on these questions, using as a case study Toronto’s Free Fall Festival, one of the most recent additions to an expanding network of experimental and institutional festival venues across Canada. Tracing the dangers and the necessities of institutionalization in a contemporary economic and cultural landscape, Stedman attempts not to answer the aforementioned questions, but to bring this vital and under-represented discourse into greater focus.
The Huntress and the Holy Mother: Symbolic Integration in Berni Stapleton’s The Pope and Princess Di
Authors: Fralic Michael
Published: December 2020

This article examines the treatment of symbols in The Pope and Princess Di, a recent comic/satiric play by a renowned Newfoundland theatre artist, Berni Stapleton: their inherent organicism, their constant subjection to alteration and hybridization, and their destructive potential when viewed as sacrosanct. The essay examines crucial changes in the self-images of the play’s central characters, Bernadette and Diana, two women recently diagnosed with breast cancer.These changes arise fromthe reconfiguration and re-evaluation of deeply embraced religious, quasireligious, and cultural symbols as the two women provide each other with new insights necessary for their emotional and spiritual healing.The article draws on Christian and radical feminist analyses of Christian religious symbols and the relationship between symbolismand idolatry and is informed by feminist endorsements of an organic rather than fixed relationship with cherished or otherwise powerful symbols. The article also draws on a vision of historical process articulated by Alfred North Whitehead. According toWhitehead, the dominance over others of particular models of understanding is historically inevitable but is also dangerous because of the high likelihood of a stifling or destructive resistance to crucial new input among those most invested in the status quo.Though change will arise in any case, it will bemore humane and nourishing if both the necessity of the new knowledge and the best parts of the old are acknowledged. In accordance with a Whiteheadian vision of change at its best, Stapleton’s play challenges prevalent norms and symbols while keeping a critical eye on ways of understanding that would sweep in to replace them. In The Pope and Princess Di, the new symbolic order is tentative and rooted in the day-to-day perplexities of lived experience, rather than founded on elusive absolutes.
From Performing Wholeness to Providing Choices: Situated Knowledges in Afrika Solo and Harlem Duet
Authors: Moser Marlene
Published: December 2020

This paper considers two plays by Djanet Sears, Afrika Solo and Harlem Duet, under the rubric of feminist standpoint positioning. The situated knowledges of standpoint positioning avoid the “god trick,” as Donna Haraway puts it, of the objectivist approach, but lead to other anxieties and limitations around subjectivity and agency. Both plays consider the performative and contextual nature of identity, but their spectatorial relationships offer different paths to agency and knowledge and challenge us to entertain certain epistemological shifts.
"A Condor in the Andes of the Seats": Guthrie at Stratford, 1954
Authors: Carnahan Peter
Published: December 2020

Peter Carnahan presents a personal memoir of Tyrone Guthrie’s second season as Director of the Stratford Shakespearean Festival of Canada, with observations on his directing techniques for The Taming of the Shrew and Oedipus Rex and other Guthrie productions of the period, and considerations of his contributions to the field of Shakespearean staging, particularly his use of “modern dress” costuming and his pioneering development, along with Tanya Moiseiwitsch, of the open stage for Shakespearean production. The article concludes with personal reminiscences of Tony and Judy Guthrie as they relaxed and enjoyed the life of a small Canadian town after the season opened.
Léo at the Tarragon: Naturalizing the Coup
Authors: Verdecchia Guillermo
Published: December 2020

Rosa Laborde’s play Léo draws on the complex (Chilean and Latino) cultural memory of the 1973 coup that deposed the Salvador Allende government, but the debut production at Toronto’s Tarragon contains that memory to serve dominant cultural narratives. The Tarragon production of Léo—a play ostensibly ‘about’ Chile—is a clear example of how dominant cultural paradigms can persist across the borders of intercultural performance. I consider the ways in which text, production, supplementarymaterial provided in the program, and the theatre’s public discourse work to appropriate amemory of rupture and reactivate a familiar vision of multicultural Canada.
Urban Entanglements in Three African Canadian Plays: Lorena Gale’s Angélique, George Boyd’s Consecrated Ground, and Andrew Moodie’s Riot
Authors: Tompkins Joanne
Published: December 2020

This paper examines the ways in which three African Canadian plays—Andrew Moodie’s Riot, Lorena Gale’s Angélique, and George Boyd’s Consecrated Ground—rehearse moments of racism regarding theAfrican Canadian diaspora. I explore the in/visibility and hyper-visibility of blackness in three plays that are set in a past which connects directly to contemporary politics: Angélique takes place in 1734 Montreal and the present, Consecrated Ground is set in Nova Scotia’s Africville in 1965, and Riot looks back to Toronto in 1992. Yet rather than just documenting points on a visibility continuum, the plays also raise the prospect of establishing alternative— albeit metaphoric—definitions of ‘belonging.’ Using Avtar Brah’s concept of “diaspora space,” I argue that by exploring a compromised form of diaspora space as a means of locating African Canadian subjects, the plays provide an abstract alternative to ‘belonging’ in their urban narratives, in the wider community, and the larger nation. The performance of diaspora spaces, even if compromised, helps make visibleAfrican Canadian identities, as the plays renegotiate the nature of Canadian landscape, history, and identity at large.
Kneading You: Performative Meta-Auto/Biography in Perfect Pie
Authors: Stephenson Jenn
Published: December 2020

In the last two decades, it has become an accepted principle in psychology that the sense of self depends on autobiography. Without the ability to organize experience through narration, arguably one cannot have a coherent self. If one’s self is indeed dependent on autobiography, then that same narratively constituted fictive self is especially susceptible to erosion and erasure through memory loss and narrative disability. In Judith Thompson’s Perfect Pie, Patsy is such a character, suffering from trauma-related amnesia that inhibits the realization of a full extended self. Although on the one hand, Patsy’s status as a fictive character leaves her vulnerable to the power of words to undermine the stability of a narratively generated self, on the other hand, her ontological situation as a character born in words also grants her significant power to wield that same performative power to write her self. This article will examine the dialogic self-authoring strategy that Patsy adopts to generate multi-vocal autobiography, weaving thematically associated stories across disparate nested fictional worlds. Ultimately, Patsy’s potential cure lies not in the revelation of an objectively-verifiable historical truth but rather in the pie-making, theatre-making, self-making process of continued reiterative performance.
Meditation in Two Parts and One Aphorism: Personal Experience, State Dirigisme, and New Play Development
Authors: Macina Michael
Published: December 2020

Through my years as a theatre practitioner, I have scarcely acknowledged and almost never identified with the institutions that funded or supported my endeavours. I simply took them for granted (pun intended). In fact, institutions were about the farthest thing from my mind, preoccupied as I was with the personal, artistic, and business challenges of making theatre and films. My focus, therefore, is on the relationships between and among creators and institutions involved in new play creation, production, and financing, on the one hand, and on the role of institutions in shaping Canadian identity and culture as a whole through organizational policy and action (including funding), on the other. Two problems framed as questions constitute a through line in this discourse. First, what are the possibilities of and limitations on institutional efficacy in achieving (national or individual) artistic and cultural policy objectives? Second, what is the relative importance of conscious intent in social and cultural policymaking to unconscious forces whether personal, collective, or institutional, that underlie creativity and affect sense of identity in the context of a Global North, elected democracy?
Editorial Introduction: Our 35th Year
Authors: Schweitzer Marlis
Published: December 2020

It’s spring, a time of renewal and festivity! This special “bonus” issue of Theatre Research in Canada celebrates the journal’s 35 th issue and the beginning of its 35 th year (we officially turn 35 in 2015). For over three decades, TRIC has served as a site of scholarly debate, dialogue, and discovery for a vibrant community of theatre and performance scholars, both in Canada and increasingly beyond its borders. TRIC’s first issue, published in the spring of 1980, featured an eclectic range of articles on such topics as Dora Mavor Moore, the first circus in eastern Canada, Montreal’s Theatre Royal in 1825, the nineteenth-century theatre manager Eugene A. McDowell, and Rick Salutin’s Les Canadiens. In their inaugural editorial, co-founding editors Richard Plant and Ann Saddlemyer expressed hope that the journal would advance research on “the theatrical and dramatic history of Canada” and “provide a forum for the exchange of thoughtful and studied opinion, thereby encouraging the formation of an informed critical perspective within which to view Canadian theatre.” In addition to publishing articles on a broad range of topics, they planned to include excerpts of scripts, book reviews and review articles, and a “Notes and Queries” section with “brief statements of important new projects and specific requests relating to individual research.” Plant and Saddlemyer anticipated that over time the journal would “achieve [. . .] a balanced presentation of contemporary work in the areas of criticism and research into theatre history in Canada.”
Performing Cultural Crossroads: The Subject-Making Functions of “I am” Declarations in Daniel David Moses’s Almighty Voice and His Wife
Authors: Wright Kailin
Published: December 2020

Daniel David Moses’s Almighty Voice and His Wife tells the legend of a Cree man who lived in Saskatchewan during the end of the nineteenth century. After being arrested for killing a cow, he escaped prison and died in a shootout with over one hundred Mounted police. This essay explores the performed transmission of “I am” declarations in encounters between historical Indigenous figures and perceived white colonial audiences in Moses’s play. In a work that seeks to reshape earlier versions of the Almighty Voice myth, performative utterances are a key strategy for speaking back to colonial legends and a history of enforced Christianity in Canada. Almighty Voice features a series of “I am” statements, such as “I’m no ghost” and “I am the wife of Almighty Voice;” yet, the final attempt at selfassertion—“ Who am I?”—does not leave the audience with truth claims but with questions. Integrating J. L. Austin’s concept of speech acts with Judith Butler’s performative identity theory and Miri Albahari’s theory of possessive subjecthood, this paper outlines four main functions of “I am” statements: 1) to constitute the self; 2) to perform belongingness; 3) to assert ownership over identificatory categories; and 4) to emphasize individuality. The conclusion returns to the larger questions of the subject-making capacities of self-narration in Canadian drama.
Finding the New Radical: Digital Media, Oppositionality, and Political Intervention in Contemporary Canadian Theatre
Authors: McLeod Kimberley
Published: December 2020

Alan Filewod argues that in contemporary performance, “Digital media is both the means and the form of the reconstitution of activist theatre: it disrupts and relocates cultural genealogies, reterritorializes artistic traditions, produces new structures. Digitalization is the enabling condition, then, of new theatricalities.” In November 2011, Quebec playwright Oliver Choinière created a digital performance that, in line with Filewod’s claim, challenged existing theatre conventions and explored new possibilities for activist performance interventions. His performance, Project blanc, used pre-recorded audio on MP3 players, which participants clandestinely listened to while watching a production of L’École des femmes at Montreal’s Théâtre du Nouveau Monde. The audio was critical of both the production and the theatre’s role as a commercial institution.

This article investigates the relationship between this production’s oppositional stance and use of digital tools. Choinière’s protest performance creates affinity and proximity within his audience, thus working against what Jason Farman refers to as the “distancing-through-proximic” that usually occurs when individuals are connected to mobile devices in public. However, the production’s own exclusivity and antagonistic tone undermines Choinière’s critical stance. Another digital site-specific performance, Jonathan Goldsbie’s Route 501 Revisited, provides a counterpoint to Choinière’s approach. This example, which had participants ride on a Toronto streetcar and communicate through a Twitter hashtag, illustrates the potential for mobile technologies to politicize spaces and users via performance. While Goldsbie’s work is less overtly political in its aims, his encouragement of collaboration contrasts with Choinière’s more traditional narrative approach and oppositionality.
"Theatre Research in Canada"
Authors: Gibson Annie
Published: December 2020

As the publisher at Playwrights Canada Press, I find that there is great variety in the kinds of writing that crosses my desk every day. We mainly publish Canadian-authored plays but also scholarly works about Canadian theatre. One of the limitations of publishing about live theatre is that it is impossible to recreate the entire experience of seeing a play in the book. We do our best, sometimes including photographs and even CDs with recorded music, but in an instance where the staging or casting choices or even lighting has been particularly unique, reading the script simply doesn’t have the same impact. The insight that an introduction or companion essay can offer is therefore invaluable when it comes to furthering a reader’s understanding of the script before them.
The Trades of T.R.i.C.: There Are No Macrohistories Here
Authors: Whittaker Robin C.
Published: December 2020

Recently a friend, who trained as an actor at two Canadian schools and who is a former manager of an influential national theatre arts organization, asked me, “Do you have a recommendation for a solid single-volume on Canadian theatre? I’m thinking of a general survey, like the Brockett [History of the Theatre] but specifically for Canada.” By coincidence, a few weeks later, a student of mine asked me the same question: “Where can I find a history of Canadian theatre?”
Applied Theatre and Performance Research in Canada?
Authors: Freeman Barry
Published: December 2020

In the last decade, Canadian theatre researchers have taken interest in Applied Theatre and Performance practices, that is, practices with an explicit pedagogical, social, political or therapeutic aim that take place in educational, community, activist or health care contexts. Examples include theatrical elements of the sprawling Montreal Life Stories project reported on in recent years by Ted Little and Rahul Varma among others, and Are We There Yet, a participatory play by Edmonton-based playwright Jane Heather that toured extensively across the country educating young audiences about sexuality. I find it curious, however, that while these practices are being discussed using the term ‘Applied’ in international contexts, they seem to be taken up in more methodology- or discipline-specific conversations here in Canada such as drama- or theatre-in-education, ethnography, community theatre, theatre for development, art therapy, or practice-based research (to name some common possibilities). While I wouldn’t dispense with any of these specific conversations, I have wondered: why has the term ‘Applied research’ been less enthusiastically embraced in Canada than it has elsewhere? And is there reason to give it a warmer reception?
Introduction: Quebecois Theatre without Borders
Authors: Guay Hervé , Hurley Erin
Published: December 2020

In his book Theatre and Globalization, Patrick Lonergan advances the idea that globalization is transforming the configuration of economic and cultural exchanges, leading to a “deterritorialization of power” that affects both cultural and economic arenas. Power moves from the precise physical location of its exercise to a conceptual space linked to the domination of brands (Lonergan 21). In this globalized and reconfigured cultural space, it makes sense to reflect upon the position of Quebecois theatre, to examine the strategies and tools that enable a segment of it to cross borders, and to contemplate whether its position on the global cultural stage has something to teach us about the manner in which the players in this relatively small theatre community can play their cards right in this new, international theatre dynamic. Thus the title of this special issue, Quebecois Theatre without Borders, as we have called it, in which the contributors examine the integration of these practices in a framework that exceeds the nation.
Esquisse d’une sociologie des réseaux festivaliers. Le cas du Festival TransAmériques de Montréal
Authors: Schryburt Sylvain
Published: December 2020

Depuis le milieu des années 1970, on assiste à la multiplication du nombre de festivals et de diffuseurs saisonniers dont tout ou partie de la programmation est consacrée au théâtre étranger. Ces festivals et diffuseurs—qui se comptent aujourd’hui par centaines—sont principalement concentrés en Europe de l’Ouest et forment de vastes circuits informels que privilégient les artistes du théâtre québécois depuis les années 1980 lorsqu’ils tournent à l’extérieur de leurs frontières. Montréal appartient en propre à ces circuits internationaux depuis la fondation du Festival de Théâtre des Amériques (1985-2006) et celle de son successeur, le Festival TransAmériques (2007), dont l’étude sera au coeur du présent article. Inspirée de la sociologie des réseaux, cette étude explore les réseaux internationaux (personnels, de diffusion ou de coproduction) auxquels participent ce festival et ses représentants, de même que son rôle de médiateur entre l’ici et l’ailleurs.
Daniel Danis en traduction : problèmes de traduction du Chant du Dire-Dire en espagnol chilien1
Authors: Kristić Andrea Pelegrí
Published: December 2020

Dans cet article, Pelegrí Kristić propose une étude de la traduction chilienne de la pièce Le chant du Dire-Dire de Daniel Danis, réalisée dans le cadre de la théorie fonctionnaliste du skopos (Vermeer 1978). Cette approche postule que la traduction d’un texte est subordonnée à la fonction (ou skopos) assignée au texte d’arrivée définie suivant le contexte de communication qui sera le sien et suivant l’usage et les usagers auxquels il est destiné. Ce skopos permet ainsi d’établir un projet de traduction concret, qui définit les choix traductifs. Grâce à sa souplesse, nous proposons cette théorie comme une alternative méthodologique efficace pour la traduction de cette pièce, étant donné sa complexité stylistique et esthétique. Particulièrement, notre projet de traduction offre une « troisième voie » entre la littérarité et l’adaptation de la pièce au contexte chilien, en produisant une version chilienne qui essaie de garder les particularités stylistiques et les trouvailles de Danis.
“The Simple Question of Ireland”: La Reine de beauté de Leenane in Montreal1
Authors: Fricker Karen
Published: December 2020

This article uses the tools of intercultural and translation theory to explore the production and reception of La Reine de beauté de Leenane, the 2001 French language premiere of Martin McDonagh’s The Beauty Queen of Leenane, translated by Fanny Britt and produced by Théâtre La Licorne in Montreal. Creative team and critics alike understood the play as a realistic tragicomedy, and valued the production for the parallels it offered to real-life conditions of rural underdevelopment in contemporary Quebec, and for the ways in which the play’s depiction of Ireland was understood to resonate with Quebec’s own problematic postcoloniality. Such a reading does not take on board the strong current of exaggeration in McDonagh’s text nor the extent to which the play offers a satiric commentary on Irishness (and national identity more broadly) as commodity. The article weighs the positive effects of the sense of self-recognition and solidarity Quebecois artists and critics located in the play against the fact that inaccurate and misleading information about Ireland was disseminated via the production and its critical reception. Understanding this and other productions of plays in translation as intercultural encounters, the article advocates for the presence of interlocuters in such exchanges, who can speak on behalf the culture being represented.
Performance For/By/With Young People in Canada
Authors: Chamberlain-Snider Sandra , Fitzsimmons Frey Heather
Published: December 2020

This special issue examines the advocacy for and significance of discussing performance for/by/with young people in Canada. It asks how thinking about young people as audience members, creators, and co-creators can expose ideas about who they are, what they want, and what adults believe is good for them. The nineteen writers who contributed full-length articles and forum essays to this special issue demonstrate how attentive consideration to young people complicates creation ethics, aesthetic choices, affective impacts, content decisions, approaches to training, working conditions, and ideas about risk in connection to the performing arts. As the authors discuss how young people imagine, witness, train, and perform, they are simultaneously advocating for the young people they write about, for the specific issues that concern them, and for these perspectives to expand and invigorate broad conversations about Canadian performance for all ages.