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This is the first book to consider the formation, history, and practice of Asian Canadian theatre.
Despite a recent increase in the productivity and popularity of Indigenous playwrights in Canada, most critical and academic attention has been devoted to the work of male dramatists, leaving female writers on the margins. In Indigenous Women’s Theatre in Canada, Sarah MacKenzie addresses this critical gap by focusing on plays by Indigenous women written and produced in the socio-cultural milieux of twentieth and twenty-first century Canada. Closely analyzing dramatic texts by Monique Mojica, Marie Clements, and Yvette Nolan, MacKenzie explores representations of gendered colonialist violence in order to determine the varying ways in which these representations are employed subversively and informatively by Indigenous women. These plays provide an avenue for individual and potential cultural healing by deconstructing some of the harmful ideological work performed by colonial misrepresentations of Indigeneity and demonstrate the strength and persistence of Indigenous women, offering a space in which decolonial futurisms can be envisioned. In this unique work, MacKenzie suggests that colonialist misrepresentations of Indigenous women have served to perpetuate demeaning stereotypes, justifying devaluation of and violence against Indigenous women. Most significantly, however, she argues that resistant representations in Indigenous women’s dramatic writing and production work in direct opposition to such representational and manifest violence.
This book surveys the history of Asian American theatre from 1965 to 2005.
Theatre and (Im)migration shines a bright light on the impact that immigrant artists have made and continue to make on the development of Canadian theatre, from themes, characters, and world issues to financial structures and artistic techniques. The collection of essays demonstrates how the increased presence of immigrant theatre artists actively contributing to English- and French-Canadian theatre prompt their audiences to rethink fundamental concepts of nationalism and multiculturalism. Contributors include Moira Day, Alan Filewood, Aida Jordão, Ric Knowles, Natasha Martina Koechl, Rebecca Margolis, Lisa Ndejuru, Nicole Nolette, Eleanor Ty, and many more.
From the glittering high-rise condos to the desperate streets of Vancouver, powerful stories told by women reveal the fraying social fabric among the wealthy and hangers-on in the city's Asian Canadian community. Lady Sunrise introduces us to six women who are risking everything, all motivated by the need for more money and the freedom it could buy, whether it's the allure of expensive items and real estate to substitute what's been lost or the safety of not being in abusive debt to anyone else just to survive. This heartbreaking examination of the effects of today's hyper-consumerist society will challenge perspectives of strength and power, exposing painfully raw consequences.
A collection of six plays from acclaimed and award-winning South Asian Canadian playwrights.
By exploring the major currents of the 20th century through the life story of one man, Mas Yamamoto, 1 Hour Photo presents a moving portrait of our times.
Adapted from the novel by Terry Woo
An elegant and sweeping story of a Chinese family's history, trace follows the footsteps of four generations as their homes and identities are challenged. Jeff Ho brings life to his great-grandmother, grandmother, and mother through considerate storytelling as they recount their pasts, leading to a paralleled present.
By Governor General's Award nominated playwright Marjorie Chan ("China Doll, Nightwood", 2003).