bluuebunny/crossref_metadata_2025 huggingface dataset:
INVESTMENTPROJECTS IN LOGISTICS SYSTEMS
Authors:   Odessa National Maritime University, Prykhno Yuliya
Published: January 2021

Scientists have researched and scientificallysubstantiated the significant effect of the use of project management tools on all business entities and on the country's economy as a whole. At the same time, in modern conditionsactive economic development and turbulenceenvironment, lead to the fact that considerable attention should be given tothe strategic line of conduct of enterprises. The strategy allows to take into account the capabilities of the enterprise, as well as investment projects in various strategic business areas. Despite the fact that many sources describe the process of the development of logistics systems through investment projects; in practice it is very difficult to implement.For the implementation of investment projects of the enterprise it is necessary to present this process in the form of a set of formalized procedures or in the form of step-by-step sequence of actions for choosing the best option for an investment project.This problem is especially relevant for logistics systems, because their activities are carried out in the form of many projects. Increasing the volume of investments and improving the efficiency of investment management in logistics systems is one of the fundamental conditions for reducing the duration of the production and sales cycle, which creates the preconditions for economic growth by accelerating the turnover of funds. The production potential of economic entities, their efficiency, and hence the sectoral and reproductive structure of all public production will largely depend on the investment projects, both at the micro and at the macro logistical level.Unsolved in practical terms of the problem of improving the investment process and management of investment activities in logistics systems, the need to develop a methodology for analyzing and modeling the investment activities of logistics systems in the context of the transformation of the economy, as well as insufficient coverage of this problem in domestic and foreign literature determined the relevance of the research topic.
LEGAL REGULATION OF WASTE MANAGEMENT IN UKRAINE AND THE EU
Authors:   Odessa National  Maritime  University, Balobanov Oleksandr , Shparlo Anastasiia ,   Odessa National Maritime University
Published: January 2021

Ensuring the environment is safe for human life and health is one of the vital goals of the entire world community. Seaports inevitably affect the atmosphere, hydrosphere and soil. The main source of environmental pollution are merchant ships, which produce the most danger for the marine environment. The solution to the problem of waste management should be carried out through the state regulation, which should take into account the national characteristics of the population and the positive experience of European legislation. The author notes that the effective functioning and development of seaports depends on a number of factors, including the level of their technological and technical equipment, development of maritime infrastructure, compliance of the management system with modern international requirements, provision of regulatory framework. The current legislation of Ukraine and the requirements of the European legislation in the field of waste management are considered and analyzed. Approaches to solving the global problem in the context of European integration are proposed, namely: creating the necessary regulatory framework to reduce ship waste and cargo residues into the sea, as well as preventing or limiting the negative impact of seaports on the environment and human health; creation of modern infrastructure. The lack of regulation has a direct impact on the environment, on the efficiency of not only the port and transport industry, but also the economy as a whole. The study aims to highlight a fundamental criterion − waste management in the ports of Ukraine. It is concluded that in Ukraine there is no clear organizational structure of waste management. The author concludes that it is necessary to use European standards for waste management in ports
Playwrights in a Landscape: The Changing Image of Rural Ontario
Authors: Leggatt Alexander M.
Published: January 2021

The history of the theatre includes not only the facts that can be documented - productions, playhouses, sets and costumes - but a number of less tangible factors as well. One of particular importance to the Canadian theatre is the history of attitudes to the theatre itself. That is the history I would like to trace in this article. The fifty-year span the study covers shows a change in the handling of one particular theme - the theme of the land itself - that reflects a corresponding change, at a deeper level, in the attitude of the Canadian playwright to the theatre he works in.
UNE VOIX FÉMININE PRÉCOCE AU THÉÂTRE QUÉBÉCOIS: COCKTAIL (1935) D'YVETTE OLLIVIER MERCIER-GOUIN
Authors: Verduyn Christl
Published: January 2021

En 1935 la pièce Cocktail d'Yvette Ollivier Mercier-Gouin a été réclamée sur la scène théâtrale québécoise. Le public de l'époque semblait y reconnaître sa première grande pièce nationale. Comment expliquer alors l'obscurité dans laquelle sont sombrées pièce et auteure à partir de 1940? Une lecture contemporaine de la pièce dégage une thématique qui devait attendre, pour être approfondie, une perspective littéraire et critique féministe.
Canadian Radio Drama in English: Prick up Your Ears
Authors: Nothof Anne
Published: January 2021

Radio drama is alive and well and living in Canada, even though the audience is scattered and silent, and the playwrights relatively obscure. It works best as an intimate, personal voice in the ear of the individual listener, seducing with the meaningful sound of language. Although its pervasive tone has been critical and ironic, it is most effective as a mental theatre: sound becomes a transcription of psychological reality. The CBC has, however, produced a diversity of radio plays, from adaptations of novels to innovative series featuring new Canadian playwrights.
The Alternative Theatre Adaptation of Leacock's "Sorrows of a Super Soul" in Hungary
Authors: Kürtösi Katalin
Published: January 2021

Leacock's tale was adapted for the stage in Hungary by an alternative theatre company in 1984. The show, based on an excellent translation, focused on central problems of human life (reality and imagination, power and art, honesty and pretence, etc.) and represented them in a parodic way. Music and dance were used to suggest the atmosphere and provide hints for interpretation. The presentation of this Canadian piece marks an important milestone in the history of alternative theatre in Hungary.
"Schizophrénie! Is What We Be" - Or Is It? The Franco-Ontarian Heritage In The Plays of André Paiement
Authors: Allain Mathé
Published: January 2021

The works of André Paiement reflect a cultural schizophrenia so deep that it becomes ambivalence towards the very heritage he laboured to preserve. His protagonists are caught in dead-end streets because of their collective past and because of their own shortcomings. Only in his last play Lavalléville does he suggest that tradition can be turned to the fulfillment of the individual.
Undermining the Centre: The Canon According to "CTR"
Authors: Filewod Alan
Published: January 2021

Since its founding in 1974, Canadian Theatre Review has made a major contribution to the canon of Canadian drama, in its critical discourse and publication of new plays. Under three successive editorial regimes its notion of what constitutes the canon has changed radically. In its first phase, CTR was committed to legitimizing the canon; in its second phase, the notion of the canon was broadened to include marginalized voices; today CTR is effectively committed to interrogating the very idea of a canon.
The Perfection of Gesture: Timothy Findley and Canadian Theatre
Authors: Roberts Carol
Published: January 2021

Timothy Findley, one of Canada's best-known writers of fiction, has also made notable contributions to Canadian theatre. His early acting career, his work as a playwright and as a scriptwriter for CBC radio and television have resulted in his participation in several 'firsts' in Canadian theatre history. Findley acted in the inaugural season at the Stratford Festival, was the National Arts Centre's first playwright-in-residence. and wrote the script for CBC Television's first feature-length colour film. As well, Findley's theatre background has had a profound effect on the development of his writing career and on his fictional style. Some of his recent work indicates a renewed interest in writing for the stage.
Institution Littéraire, Institution Théâtrale et Théâtre Régional
Authors: Lizé Claude
Published: January 2021

Les recherches sur le théâtre en région constituent toujours une préoccupation marginale dans le champ des études théâtrales. L'objet fait problème, il faut donc le définir avec précision. Une fois défini, il commande un cadre théorique et une méthodologie qui lui soient adaptés. La théorie de l'Institution littéraire nous semble appropriée dans ce contexte. En effet, elle permet l'étude du chef-d'oeuvre autant que de l'oeuvre marginale. Elle permet surtout de découvrir que l'oeuvre marginale est un sous-produit de l'Institution et qu'elle n'a de marginal que le regard qu'on lui porte.Qu'est-ce donc que le théâtre régional, sinon le regard de l'autre qui, de loin, est porté sur lui?
A Career in Progress, Part 2: Donald Davis, Canadian Actor and Director, 1959-1990
Authors: Goodwin Jill Tomasson
Published: January 2021

Donald Davis's professional careers an actor, producer, and director spans forty-three years and two continents. This second of two articles 1 discusses his professional work from 1959 to 1990, and chronicles his work in the United States and Canada.
Stories of Interest: Some Partial Histories of Mulgrave Road Groping Toward a Method
Authors: Knowles Richard Paul
Published: January 2021

This paper explores through personal experience and from a cultural materialist perspective the conditions which shape the reproduction of theatre and theatre history in contemporary Nova Scotia. It focuses on the Mulgrave Road Co-op Theatre, the ways in which its theatre is produced, recorded, 'archived,' represented in documentation (including reviews), and reconstructed in theatre history and criticism. It draws upon the author's own histories of and with the company as a way of posing problems and raising issues pertaining to the writing of contemporary theatre history in the Maritimes.
On Native Ground: Canadian Theatre Historiography and the Postmodernism / Postcolonialism Axis
Authors: Salter Denis
Published: January 2021

This position-paper suggests that both postmodernist and postcolonial thought have been playing a significant-although radically incommensurate and unacknowledged-role in the postwar formation of English-Canadian theatre historiography. Inspired by two ground-breaking collections: The Empire Writes Back, by Bill Ashcroft, Gareth Griffiths and Helen Tiffin (London: Routledge 1989) and After Europe, eds. Stephen Slemon and Helen Tiffin (Sydney: Dangaroo Press 1989), it concludes with a modest manifesto of eight issues which together define one kind of postcolonial theoretical model for the (re)writing of English-Canadian theatre history.
Groupe de Recherche sur le théâtre en Abitibi-Témiscamingue. Du théâtre en Abitibi-Témiscamingue
Authors: Rièse Laure
Published: January 2021

Dans cette revue richement documentée on trouve un vaste aperçu de ce qui se passe depuis uncertain nombre d'années déjà au point de vue théâtral. En effet, qui se serait douté que dans des communautés régionales tant de productions seraient envisagées? Aventure que nous pouvons suivre tout au long de ces pages avec une chaleureuse attention. Elle évoque l'histoire vivante d'une évolution dramatique, essuyant revers mais aussi grands succès. Claude Lizé nous introduit parmi les pionniers de cette entreprise du domaine théâtral pour nous permettre de suivre au cours des chapitres les faits, les situations, les répertoires, les initiatives dans les collèges aussi bien que les dépenses budgétaires et les aides financières.
The Problematics of Research on Regional Theatre Conducted in Remote Areas
Authors: Coté Jean-Guy , Leclercq Marie-Claude , Lizé Claude
Published: January 2021

Dans cette communication présentée au Congrès des Sociétés savantes (colloque de l'Association d'histoire du théâtre au Canada) en mai 1991, le Groupe de recherche sur le théâtre en Abitibi-Témiscamingue répond à trois questions concernant la problématique de la recherche en région sur le théâtre régional: qu'est-ce que le théâtre régional? d'où origine le discours sur le théâtre régional? et où mènent ces recherches? Pour répondre à ces questions il faut tenir compte de facteurs géographiques, tel celui de la distance par rapport aux grands centres urbains où se concentrent l'activité théâtrale et la recherche sur le théatre; mais il faut surtout tenir compte de certains facteurs institutionnels qui bloquent la reconnaissance du rôle des pratiques marginales autant que marginalisées (théâtre amateur, théâtre régional...) dans la constitution de l'Institution elle-même.
'Getting to' Canadian Theatre History: On the Tension Between the New History and the Nation State
Authors: Johnson Stephen
Published: January 2021

The methods of the 'new' history have helped to define the study of theatre history; at the same time, these methods tend to de-emphasize the influence of the politics of the nation state on that history. This can create tension in a discipline such as Canadian theatre history that defines itself by national as well as cultural criteria. This article illustrates the tension by comparing the definition of theatrical culture implicit in two examples of the Upper Canada (Wellington County) local press during the 1860s with that of an American trade journal for the same period. Reference is made to the Civil War, the Fenian raids, and Confederation.
Theatre, Navy and the Narrative of 'True Canadianism'
Authors: Filewod Alan
Published: January 2021

Canadian theatre history has tended to look at the theatre as a hermetically isolated cultural artifact with little concrete reference to other aspects of Canadian national life. This essay examines the development of the theatre as an index of post-colonial nationhood with reference to parallel developments in the Canadian Navy.
"My Mother Wants Me To Play Romeo Before it's Too Late": Framing Gender on Stage
Authors: Gilbert Reid
Published: January 2021

Following Erving Goffman's suggestion that "markers and regulators" run across any "strip of discourse" forming a "track" to regulate focus, the paper discusses frames-both in scene and language-that demarcate icons of gender. Set, deixis and the semiotic segmentation of text control the audience's reception, both to establish traditional images of the male and female (and of sexual relationships) and to deconstruct these images. The result is to build scenography which urges the consideration of gender issues-indeed, to make set, acting technique and costume synecdochal-so that theatrical frames not only contain action but themselves become part of the cultural coding of gender and power. In this context, costume, tears, dreams, movement and language become keys to definition and, when employed to resist or subvert, become overt or coterie signs of redefinition.
Reading Empathy in a Québécois Play:Crying to Laugh
Authors: Klein Jeanne
Published: January 2021

To explore a continuum model of empathy, 88 children in grades one, three, and five were interviewed about their emotional responses to Crying to Laugh, a québécois play designed to demonstrate emotional expression. Girls and older children empathized and sympathized by feeling and thinking from female characters' perspectives more than boys and younger children. Boys distanced themselves more than girls by focusing on their personal desires and expectations. Theatrical signs of presentational plays may interfere with empathy by distracting young children from identifying intended themes.
John Hirsch and the Critical Mass: Alternative Theatre on CBC Television in the 1970s
Authors: Kirkley Richard Bruce
Published: January 2021

This article examines John Hirsch's attempts to bring Canadian theatre artists and stage plays to television during his tenure, as Head of CBC English Language Television Drama in the 1970s. When the CBC appointed John Hirsch, they gave him a strong mandate to strengthen the drama department's relationship with Canadian theatre by bringing some of the best plays and performances to television, and by recruiting new talent from the theatre. To fulfill this mandate, Hirsch initiated a bold, comprehensive strategy; yet a series of historical forces, ranging from financial and economic to cultural and aesthetic, made the full realization of his strategy very difficult. By examining the problems that confronted Hirsch's theatre projects, this article will show how historical circumstances specific to the 1970s impeded the success of the projects, and will further suggest that more recent technological, structural and cultural developments related to television production and reception may have generated an environment more conducive to the achievement of successful collaborations between theatre and television.
La Profession Qui N'en Est Pas Une
Authors: Egervari Tibor
Published: January 2021

Dans son article « This Discipline Which Is Not One » Richard P. Knowles plaide avec éloquence pour une sérieuse remise en question de la division entre la théorie et la pratique théâtrales dans l'enseignement universitaire. Il estime que la suppression de la ligne de démarcation, ou du moins son affaiblissement, rendrait cet enseignement beaucoup plus apte à remplir son rôle d'empêcheur de penser en rond. 1 Son argumentation est non seulement juste dans l'abstrait, mais elle arrive à un moment particulièrement opportun. Tout porte à croire en effet que l'enseignement universitaire traversera une assez longue période de restructuration et le moment est certainement venu de le soumettre à ce genre de décapage.
Care and Feeding of Undergraduate Theater Students
Authors: Feldman Peter
Published: January 2021

A few words about Theatre students, from my experience as both student and instructor; I find these students largely absent from Professor Knowles's paper, except as object or as he says, "laboratory rats."
Response
Authors: Shand G.B.
Published: January 2021

This is from a perspective of personal involvement in an undergraduate Drama Studies Programme, offered in a small liberal arts college. I applaud the Utopia which Richard Knowles dreams: a world of consciously active makers of theatrical meanings and institutions; a world where theatrical practitioners, audiences and teachers habitually spotlight the cultural and critical ideologies conditioning all signifying practice; a world where the impossibility of neutral or objective reading is not merely observed as a critical inconvenience (or even danger), but embraced as an opportunity to celebrate the wealth of authentic signifying possibilities in our various engagements with theatrical text, script, performance. What Knowles really dreams, I think, is a critical and cultural awakening, harmonized with, for instance, Catherine Belsey's call for a new critical practice able to question and destabilize the liberal humanist status quo, or Augusto Boal's recognition of acts of intellectual and cultural oppression inherent in purportedly neutral dramatic theories like Aristotelianism.
Rémi Tourangeau. Fêtes et spectacles du Québec: Région du Saguenay-Lac-Saint-Jean
Authors: Levasseur Jean
Published: January 2021

Le Groupe de recherche en théâtre populaire de l'Université du Québec à Trois-Rivières se donne comme objectif général d'étudier et d'analyser la nature et le sens des célébrations commémoratives de diverses régions du Québec, célébrations qui s'accompagnent souvent de représentations scéniques "plus ou moins modelées sur les formes anciennes des jeux théâtraux d'Occident" (20). Dans ce premier ouvrage, Rémi Tourangeau et son équipe ont choisi de s'attarder sur les pageants historiques, ces événements d'inspiration anglo-saxonne où une communauté se rassemble autour de la création d'un spectacle à être joué en plein air par des amateurs (21), en raison de leur connotation à la fois chimérique, symbolique et identitaire (leur capacité d'éveiller le sentiment d'appartenance). Ce volume, consacré au Saguenay-Lac-Saint-Jean, voit les chercheurs se concentrer sur deux événements particulièrement importants, le Pageant historique de 1938 et La fabuleuse histoire d'un royaume inauguré en 1988, qui commémoraient respectivement le centenaire et le cent cinquantième anniversaire de cette région.
Jerry Wasserman, ed. Modern Canadian Plays
Authors: Loiselle André
Published: January 2021

In the mid-1980s, three excellent anthologies of Canadian plays appeared on the shelves almost simultaneously: Richard Perkyns's Major Plays of the Canadian Theatre (1984); Richard Plant's Modern Canadian Drama (1984); and Jerry Wasserman's Modern Canadian Plays (1985, revised 1986). Together, these three collections assembled some of the most significant theatrical texts produced in the country, and bore witness to the vitality, diversity and maturity of Canadian dramatic literature. Although these anthologies were, in many respects, of equally high calibre, Jerry Wasserman's publication distinguished itself from the rest with its provocative introduction, which offered one of the most readable and perceptive brief histories of theatre in English Canada available anywhere. It should not come as a surprise, therefore, that in his revised and expanded two-volume version of Modern Canadian Plays, published in 1993-94, Wasserman would conserve in its virtual integrity the informative prefatory text first printed almost a decade ago.
Diane Bessai. The Canadian Dramatist, Volume Two: Playwrights of Collective Creation
Authors: Johnson Chris
Published: January 2021

This study attempts to recover in a critical context one important aspect of a seminal era in the development of modem Canadian theatre and drama which, with all its pristine hopes and enthusiasms, is probably over now. (250)
Rita Much, ed. New Canadian Drama 6
Authors: Jones Heather
Published: January 2021

This volume, subtitled "Feminist Drama," is the latest in the series initiated by Neil Carson. The two plays included here represent the feminist drama specifically as envisioned and made possible by Toronto's Nightwood Theatre. Rita Much's brief historical essay on the founding and development of Nightwood offers a fair and balanced overview of the only explicitly feminist theatre "institution" in Canada. The biographies of the authors and the editor at the end of the volume also provide useful background information. I'm not sure that the institutional memory that these women, Vingoe and Rubess especially, have of both contemporary Canada's feminist theatre and women in Canadian theatre generally is sufficiently appreciated in either the theatre or academic communities.
Michael Hollingsworth. The History of the Village of the Small Huts
Authors: Filewod Alan
Published: January 2021

Jason Sherman's anthology of monodrama is an important collection because it commits to print and therefore to history an important form of theatrical production in Canada. In a climate where budget cuts are eating away at the fabric of alternative theatre, one increasingly viable way to continue producing has always been to stage a one-person show. Moreover, acting solo has become a medium through which performers and playwrights can act up against the clamour of the mega-musical and of mainstream repertory theatre by recharging the stage with an intimacy that has the potential to be captivating and disruptive.
The Real Nation? Michel Tremblay, Scotland, and Cultural Translatability
Authors: Harvie Jennifer
Published: January 2021

This paper explores some of the political effects of intercultural exchange through drama translation by examining the Scots translations, in text and production, of Michel Tremblay's plays. It is centrally concerned with national identity and with mapping the potential effects of translation and transculturation on the political efficacy of drama concerned precisely with language, place, and culture. Choosing as its sites of investigation Quebec and Scotland, it departs from more common intercultural analysis of imperial relations to consider some of the effects of intercultural exchange in relationships which are not strictly those of imperial power to colony. It concludes that despite these two nations' cultural similarities and sympathies, and despite the many values of intercultural exchange, the Scots Tremblay translations reconstitute the plays in ways which potentially compromise their political efficacy.
Agendas Change; Media Don't
Authors: Blagrave Mark
Published: January 2021

In accounting for the fact that some Theatre programmes appear to "turn out" unthinking drones who would rather not reason about or question the nature of their art, while some Drama programmes appear to encourage, in a material vacuum, the automatic reproduction of "dominant values," it is tempting to try to lay the blame on outside forces. Notions of market forces, cultural affirmation, and of mysterious hegemonic forces interested in preserving their own vested interests (could theatre studies in this country ever become that important?) provide plausible rationales. Such explanations, though, may overlook a simpler explanation: that the distinction between Theatre programmes and Drama programmes is a function of the motives of those who actually run them. Many who choose the so-called theatre stream enter it because they love the medium as medium and want to experiment with its potentials, while those in the so-called academic stream (at least described by Richard Knowles) appear frequently to have really been interested in some other agenda altogether.
Acting In Canada In 1965: Frances Hyland, Kate Reid, Martha Henry And John Hirsch'S The Cherry Orchard At Stratford
Authors: Sperdakos Paula
Published: January 2021

During the twenty years after World War II, the conditions in the Canadian theatre changed to such a dramatic degree that at last it became possible for an acting community of some magnitude to be created and maintained. The training and early theatrical experiences of three of Canada's most distinguished actors--Frances Hyland, Kate Reid, and Martha Henry--are emblematic of the opportunities available to Canadian actors at the time. This article traces their early careers and considers the single production in which all three appeared together:The Cherry Orchard, directed by John Hirsch at the Stratford Festival in 1965.
Mise En Action Et Mise En Fiction: Le Processus De Production En Improvisation
Authors: Diane Saint-Jacques
Published: January 2021

Psychopedagogical terminology has precedence over theatrical terminology in some approaches of drama in education. This article presents a theatrical understanding of the process of improvisational drama production by defining production ("mise en scène") as structure (Pavis 1990) which relates to the various means (movement, voice, image, sound) and to the fictitious meanings (as they are found in the role and in the story line). The quality of the process of production lies in the precision of the role and the story line played and also in the effectiveness of the relationship which is established by the actor between the means and the role and the story line being played. By an analysis of pre-service drama teacher productions, two levels of drama production were identified: activation ("mise en action") and fictionalization ("mise en fiction"). The activation refers to the ability to give form to a certain idea by means which are related exclusively to the role and to the story line; the fictionalization places these actions in a meaningful context of role and story line where the means are used as material. While being clearly distinguishable from the production ("mise en scène"), the activation and the fictionalization remain linked to it.
Alternative Pedagogies, Cultural Studies, And The Teaching Of Drama And Theatre
Authors: John A. Hawkins
Published: January 2021

This article applies the anti-hegemonic principles and practices of alternative pedagogy that originated in the work of Paulo Freire, as developed by the Pedagogies Working Group of the Centre for Cultural Studies/Centre d'études sur la culture at the University of Guelph, to the teaching of Drama and Theatre at the post-secondary level in Canada. After outlining an MA curricular plan in Cultural Studies and the syllabus for a course on Collaborative Case Studies Methodologies, it develops principles, practices, a curricular outline, and a model syllabus for a proposed senior undergraduate course revolving around the site-specific planning, mounting, and reflecting upon a theatrical production as a full-year course in a Canadian university setting.
"Les Comédies du Statu Quo" (1834): Political Theatre and Para-Theatre in French Canada, Part I
Authors: Doucette L. E.
Published: January 2021

A brief history of dramatic and para-dramatic literary forms dealing with political topics in French Canada before 1834. Texts discussed are from newspapers and separately-printed pamphlets.
Staging the Intersections of Time in Sharon Pollock's Moving Pictures and End Dream
Authors: Nothof Anne
Published: January 2021

Sharon Pollock has frequently constructed theatrical environments that interrogate the interpenetration of past and present. The lives of her characters are staged on several levels of time. In the productions of Doc at the Studio Theatre, Edmonton, in November 1999, Moving Pictures at Theatre Junction, Calgary, in March 1999, and End Dream at Theatre Junction in March 2000, the stage design demonstrated this fluidity of time, but also the distinct moments that embed themselves in the memory. In Pollock's plays, linearity is disrupted through spacial structures and resonant sounds.
Reconfiguring Home: Geopathology and Heterotopia in Margaret Hollingsworth's The House That Jack Built and It's Only Hot For Two Months In Kapuskasing
Authors: Moser Marlene
Published: January 2021

Una Chaudhuri utilise le terme «géopathologie» pour décrire la problématique de l'emplacement en théâtre moderne et les représentations possibles qui en découlent: la victimisation que représente le fait de demeurer en place, et l'héroïsme du départ. Cet article démontre comment les pièces The House That Jack Built et It's Only Hot for Two Months in Kapuskasing de Margaret Hollingsworth situent au premier plan la problématique de l'emplacement. La présente lecture de ces deux pièces souligne la manière dont les espaces «hétérotopiques» sont liés aux récits multivalents et offrent des constructions de rechange de la représentation et de l'identité.
Checklist Addendum 2003: Additions to the 2002 Checklist
Authors: Gardner David
Published: January 2021

Last spring, in the Volume 22: No.1 issue, I had the pleasure of presenting a Checklist of 248 books by and about Canadian performing artists.This is an addendum of approximately 98 more biographies or autobiographies, either published or discovered since last year (or still 'in the works' for eventual publication). Once again, I welcome corrections and/or additions at my email address: david.gardner@utoronto.ca .
François-Xavier Simard et André La Rose. Jean Despréz (1906-1965), Une Femme de Tête, de Courage et de Coeur
Authors: Aubrey Danielle
Published: January 2021

Trente-sept ans après la parution de deux biographies sur Jean Despréz, publiées peu de temps après sa mort en 1965, 1 François- Xavier Simard et André La Rose publient leur propre version des splendeurs et misères de la vie d'une femme orchestre, à la fois comédienne, metteur en scène, scénariste du premier long métrage de langue française au Québec, chroniqueur pour revues et journaux, animatrice à la radio et à la télévision, courriériste du coeur et surtout, l'un des auteurs radiophoniques les plus proli- fiques de sa génération.
Oscar G. Brockett and Franklin J. Hildy. History of the Theatre, Ninth Edition
Authors: Filewod Alan
Published: January 2021

Oscar Brockett's History of the Theatre may be a text more taught against than taught, but for those (like me) who caution against its monumental positivism while relying on its empiricist authority, it is never far from hand. For three decades "Brockett," as the book is known to generations of theatre students, has governed the teaching of undergraduate theatre history courses in North America, aided by a minor industry of editorial assistants, fact checkers, academic reviewers and marketers. The cover boasts that this is "the most comprehensive coverage of European,American, Asian and African theatre found in any competing textbook."It would be more accurate to describe it as a weighty, metachronic narrative encyclopedia arranged more or less in periodic structure organized around national and continental paradigms that appear to shift in response to unseen pressures.
Alan Filewood. Performing Canada: The Nation Enacted in the Imagined Theatre
Authors: Reid Gregory J.
Published: January 2021

In his unassuming, modestly presented (8'x10', paperback) monograph, Performing Canada: The Nation Enacted in the Imagined Theatre, Alan Filewod overcomes the challenging incongruities between postmodern theory and the particularities of Canadian theatre history with an argument that is imaginative yet convincing and rigorous yet elegantly styled. Despite its brevity, Performing Canada is a history of Canadian theatre from Marc Lescabot's The Theatre of Neptune in New France in 1606 to Garth Drabinsky's controversial production of Show Boat in Toronto in 1993, with reflective essays on the 19th century history dramas of Charles Mair and Sarah Anne Curzon, on Vincent Massey and the establishment of the epitome of the high-brow mainstream in Canada, the Stratford Festival, in 1953, and on "alternative" theatre as exemplified by Chris Brookes' Mummers Troupe in the 1970's in Newfoundland and their production of They Club Seals, Don't They?
Diana Brydon and Irina R. Makaryk, eds. Shakespeare in Canada: A World Elsewhere
Authors: Kerr Rosalind
Published: January 2021

Co-editors Diana Brydon and Irene Makaryk's claims to offer multi-faceted critically challenging perspectives on the history and reception of Shakespeare in Canada are amply fulfilled in the seventeen diverse chapters reflecting Shakespeare "as cultural icon, exemplary script, or infinitely adaptable medium for local selfexpression" (Preface xi). Indeed, Makaryk's opening chapter outlining the scope of the selections succeeds perhaps too well in problematizing her own question as to whether Canada has been able to recreate a "Shakespeare" that reflects its particular image or simply reinvents our colonial past. As she points out, the chronological arrangement of the chapters grouped into four parts is intended to set up an open-ended dialogue between past and present. A brief commentary on each of the chapters will give the reader some sense of the range of materials that Brydon and Makaryk have included in order to facilitate the debate.
Théâtre et Identité I: Deux Approches au Théâtre Professionnel Régional
Authors: Parent Roger
Published: January 2021

A comparative study of two theatre initiatives, one in Quebec and the other in northern Ontario's francophone communities, uncovers a surprising degree of intertextuality in the communicative practices deployed by the artists involved as they attempt to align regional professional production with the implicit horizons of expectations specific to their target audiences. Both artistic programs of action seem oriented towards what Juri Lotman has called an "aesthetics of identity" which could explain, at least in part, the unity underlying the recurrent elements identified in the strategies developed to create and to frame the theatrical experience. This two-part study endeavors to describe the artistic practices specific to the "aesthetics of identity," which Umberto Eco associates with current trends in postmodernism. The first article documents the approaches formulated by Yvon Barrette and Martin Fournier for La Troupe du Haut Pays in the Gaspésie region and by Brigitte Haentjens during her involvement with Franco-Ontarian theatre companies. Analysis based largely on the semiotics of communication foregrounds the different types and levels of structural parallels between text and context in relation to three descriptive categories: the artistic self, the cultural interpreter and the concept of theatricality. A second article then undertakes to reformulate these parallels in light of Greimas' theory of modalities and his semiotics of signification. The subsequent model suggests that the intertextuality of the artistic approaches studied stems from the communicative dynamics specific to the paradigm of exchange.
Théâtre et Identité II: Les Modalités de L' échange
Authors: Parent Roger
Published: January 2021

This study concludes a two-part enquiry into the possible workings of aesthetics of identity in devising theatre. A preceding analysis of the work accomplished by the Troupe du Haut Pays in Gaspésie and by Brigitte Haentjens with respect to her artistic contribution to Northern Ontario's francophone community highlighted nine structural parallels that articulated, at the metacommunicative level, a dialogical relationship of confirmation of identity between a professional team of artists and an environment virtually devoid of theatre. The theoretical and methodological framework utilized integrates Greimas' theory of modalities and exchange so as to better account for the intertextuality between these two interventions, as narrated by the artists. This complementary focus on the signifying practices identified in the systemic aspects of the narratives analysed goes beyond the aesthetic sphere and suggests the operational value of the exchange paradigm as a model for documenting as well as for stimulating innovation in both the artistic and non-artistic fields.
New "Look," Emerging Vision: A Time For Introductions
Authors: Plant Richard , Barton Bruce , LaDouceur Louise , Leroux Patrick , Kirkley Bruce
Published: January 2021

From the Executive Editor: I am constantly at least a bit surprised by the path my life takes. Little did I know that slightly over twenty-six years after Ann Saddlemyer and I headed up the founding of this publication, and somewhat less time after I retired from its editing, I would be writing this short introduction in the capacity of Executive Editor of Theatre Research in Canada/Recherches Théâtrales au Canada. When we originally conceived of the journal, we thought of "theatre research" in terms of a very broad understanding of those two words. As scholars interested in theatre in its more than three dimensions, Ann and I were conscious of the theatre's visuality as well as its textuality, and its almost endless modes of performative expression. I remember our first issue tried to signal that with an article on circus, a tribute to Dora Mavor Moore, an essay on a historic theatre, another on nineteenthcentury theatre management, one on a "Canadian" company in the West Indies, and another on contrasting versions of a recent theatrical success. Reality was that we also lacked content in French despite the strong work of Louise Forsyth in our editorial team. But one of our wishes at the time was that we would leave enough room in the journal's mandate and design for it to change and grow, and for high quality research and reporting that were outside the traditional boundaries as well as work that was within. To a significant degree, that has occurred thanks to the efforts of the editorial teams after us. But this newly designed issue with its completely new team of editors seems to me to indicate an exceptional desire and opportunity to go further than before. We live in a climate that in many ways is remarkably open to and desirous of expression that is aptly different from what has preceded it. To say that we live in a different Canada now may be a cliché, but even in a cliché there is truth. Canada is now a country of many evident cultures and many forms of theatre and we need many forms of theatre research to represent it, its history and its place in an international world. There is much to be done and said in this new world, and so many areas to develop that have not been well developed to this point. The plans Bruce Barton briefy outlines in his short introduction, and that are obviously shared by Louise, Patrick, "the other" Bruce, Rebecca and Jennifer, are already becoming evident in the contents and design of this issue. They will be even more evident in the forthcoming issues, two of which are virtually ready for the printer, including one under the skilled guest editorship of Glen Nichols and the same Louise (Ladouceur).
Un demi-siècle de théâtre de langue française dans la région Ottawa-Hull
Authors: Beaulne Guy
Published: January 2021

In this Paper, originally Presented in English to the Association for Canadian Theatre History at its meeting in Ottawa in June 1982, Guy Beaulne recalls fifty years of theatre in tbe French language in the Ottawa-Hull region.
Dr Lawrence Mason, Music and Drama Critic 1924-1939
Authors: Wagner Anton
Published: January 2021

The history of theatre criticism in Canada is just beginning to be uncovered. The author examines the career and critical aesthetic of Dr Lawrence Mason, music and drama critic for the Toronto Globe from 1924 to 1939, and traces his influence on Canadian theatre production and playwriting. The author concludes that Mason was a major national theatre critic whose work anticipated the criticism of Nathan Cohen and Herbert Whittaker after the Second World War.
Sir Peters and Lady Teazles of Montreal's Theatre Royal, 1829-1839
Authors: Lynde Denyse
Published: January 2021

During the decade of 1829 to 1839, Sheridan' School For Scandal was frequently presented at Montreal's Theatre Royal by touring British and American stars. This article chronicles these productions and examines the changing acting style and growing audience sophistication that developed during this period.
Julien Daoust Dramaturge 1866-1943
Authors: Godin Jean-Cléo
Published: January 2021

Fondateur du Théâtre National, en 1900, Julien Daoust a marqué de sa présence un demisiècle de vie théâtrale, aussi bien comme dramaturge et metteur en scène que comme comédien et directeur de troupe. On a reconnu en lui le 'créature du théâtre permanent dans la métropole du Canada' mais, malgré le très grand succès qu'il a obtenu avec la Passion, le Triomphe de la Croix, le Chemin des larmes ou la Conscience d'un prêtre, ce pionnier demeure méconnu. On semble même avoir oublié que ce grand comédien a été le seul dramaturge canadien-français à avoir été, avant Gélinas, joué aussi souvent et avec autant de succès. Pour comprendre cette situation, il faut examiner sa carrière à la lumière d'une histoire complexe, où le théâtre dépend constamment, et à tous les niveaux, d'instances de légitimation et de consécration étrangères: l'institution théâtrale canadienne-française n'existera qu'après la mort de Daoust. Ses ambitions ont été celles d'un visionnaire, mais il arrivait trop tôt. Ses réalisations ont été acclamées, parfois spectaculaires, mais on peut émettre l'hypothèse qu'il a été lui-même victime des modèles étrangers qu'il se donnait: modèles français pour le répertoire, américains pour la réalisation scénique. Cela dit, tant que les archives du théâtre canadien-français entre 1900 et 1940 ne seront pas mieux connues, on ne saurait trouver réponse à toutes les questions qui se posent. Cet examen de la carrière et de l'oeuvre de Daoust ne constituent qu'une exploration partielle de ces archives.
'Pepper's Ghost is Tearing Its Hair': Ottawa Theatre in the 1870s
Authors: Brown Mary M.
Published: January 2021

During the 1870s Ottawa audiences enjoyed a varied program of professional touring companies. Opera, drama, minstrel and one-man shows, as well as circuses visited the city. An analysis of the performance calendar of shows at Her Majesty's Theatre, the Rink Music Hall, Gowan's Opera House, and later the Opera House reveals Ottawa's prominent position on the south-eastern Ontario touring circuit during the nineteenth century.
The Canadian Concert Party in France
Authors: O'Neill Patrick B.
Published: January 2021

Although most Canadians have heard of the Dumbells and the entertainments that they provided during the First World War, few are aware that numerous concert parties operated in France at the same time. This article describes the various actors and companies providing diversion to the Canadian troops, and traces the growth and history of those concert parties.
David Gardner Argues the Case for 1583
Authors: Gardner David
Published: January 2021

Based on the evidence contained in Captain Haies' account of Sir Humphrey Gilbert's visit to reclaim Newfoundland for Elizabeth I, it can be speculated that mumming activities occurred at St John's exactly four hundred years ago, making 1583 a new first date for theatrical performance in Canada and North America.
The Psychology of Politics: George Ryga's Captives of the Faceless Drummer
Authors: Innes Christopher
Published: January 2021

This article analyses the background to the 1971 controversy and the misinterpretations of Ryga's play caused by it. When a work can be seen as a study of political consciousness, not of specific events like the FLQ hostage incidents, the artist can become the protagonist in a real life scenario.
The Saint John Theatre Riot of 1845
Authors: Mullaly Edward
Published: January 2021

The Saint John theatre riot of 2 April 1845 was caused by Henry W Preston's production of a lost political satire entitled The Provincial Association, written by a Fredericton author and newspaper editor, Thomas Hill. While newspaper descriptions of the riot reflect largely on the personal animosities of the writers involved, the event itself provides an early Canadian illustration of theatre's power to move its audience to emotional extremes.
The National Arts Centre: Fifteen Years at Play
Authors: Noonan James
Published: January 2021

This article reviews the history of theatre, English and French, at the National Art, Centre, Ottawa, since its opening in 1969. It examines the terms of reference for theatre as set out in the National Arts Centre Act and concludes that the Centre has been only partially successful in fulfilling its mandate to become a national theatre.
Experiences of a Pioneer in Canadian Experimental Theatre
Authors: Ferry Joan
Published: January 2021

Joan Ferry is the Co-founder of Toronto Workshop Productions. This is an account of her experience in the theatre and the events leading up to the production of Antony Ferry's play Hey Rube!.
Elizabeth Sterling Haynes: Initiator of Alberta Theatre
Authors: Day Moira , Potts Marilyn
Published: January 2021

This article discusses the contributions of Elizabeth Sterling Haynes to 'drama-in-education'and to the Little Theatre Movement in Albertafrom 1922 to 1937, and in New Brunswick from 1937 to 1939. Haynes' dedication to acting, directing and, most importantly, educating, illustrates her passionate committment to theatre. The influence of her legacy continues through the people she inspired and the institutions she directed.