PANEL TWO : DISCOVERING THE "OTHER" THEATRE/ DECOUVRIR l'AUTRE DRAMATURGIE:

Anglophone scholars explore Québécois and Acadian drama
Francophone scholars explore English Canadian theatre and drama

Louise Forsyth, U of Saskatchewan
Has Québec Feminist Theatre Been Theatrical?

In this paper I will explore the concept of Theatricality, as studied recently in a special issue of SubStance edited by Josette Féral. Using and developing some of the concepts proposed by Féral in this volume and in other theoretical articles, I shall explore the possibility that the continued exclusion from the canon, the lack of general interest in women's creations when they explicitly situate themselves as deriving from women's perspectives, and the failure on the part of critics and the public to recognise feminist theatre as experimental theatre can be partly explained through an understanding of what is commonly and collectively presumed to be theatrical. Plays and performances that do not position themselves within the horizon of expectations of that which is seen to be theatrical are likely to be marginalised, their innovative freshness largely unrecognised.


Glen Nichols, U de Moncton
Laval Goupil and the Roots of Modern Acadian Theatre

From the early 1970s until his death in 2000, Laval Goupil was a prolific and prodigious writer, adaptor, actor, director, and producer of theatre in Acadian New Brunswick. He was instrumental in the founding of the two still-dominant professional companies: Théâtre Populaire d'Acadie and Théâtre l'Escaouette. Despite the importance of his work, few of his plays are available in print and very little critical attention has been paid to the theatre of Laval Goupil as a whole. The published plays, such as Tête d'eau and Le Djibou, suggest Goupil's constant interrogation of personal and collective identity. This presentation will attempt to set this interpretation into the larger context of both his lesser known works and his career during the formative years of professional theatre in Acadie.


Patrick Leroux, Sorbonne nouvelle
La conversion autobiographique : le cas de David Fennario

Cette communication s’inscrit à mes recherches actuelles sur les dramaturgies québécoises biographiques et autobiographiques. Ainsi, elle constituera en quelque sorte une suite thématique donnant suite à mes recherches sur la figure du rhapsode comme chantre du théâtre inspiré de faits réels (congrès de Toronto) et sur les autofictions et les impromptus de Tremblay (congrès d’Halifax).


Roger Parent, U of Alberta
The School of Physical Theatre ou Comment adapter la méthode Lecoq au théâtre canadien-anglais

Après un survol de la carrière théâtrale de Ron East, l’analyse approfondit sa perception de la contribution de Jacques Lecoq à l’évolution des pratiques artistiques du théâtre anglo-canadien durant le dernier quart du vingtième siècle. Une approche sémiotique sert d’interface aux études en performance et culture pour démystifier les pratiques d’enseignement de Lecoq. La démarche cerne ainsi la dynamique évolutive de leur valeur esthétique et culturelle en tant que composantes d’une pédagogie artistique axée sur le processus créateur dans une ambiance interdisciplinaire et interculturelle. La comparaison de résultats de cette analyse à une étude antérieure sur Jacques Lecoq et le théâtre québécois laisse entrevoir un narratif commun chez les artistes des « deux solitudes » du Canada autour des paradigmes de l’identité culturelle et du nationalisme.