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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.
The series statement "Oxford handbooks to Shakespeare" taken from dust jacket.
“Notwithstanding their differing approaches—digital, archival, historical, iterative, critical, creative, reflective—the essays gathered here articulate new ways of seeing, investigating, and apprehending literature and culture.” – From the Preface This collection of essays enriches digital humanities research by examining various Canadian cultural works and the advances in technologies that facilitate these interdisciplinary collaborations. Fourteen essays—eleven in English and three in French—survey the helix of place and space. Contributors to Part I chart new archival and storytelling methodologies, while those in Part II venture forth to explore specific cultural and literary texts. Cultural Mapping and the Digital Sphere will serve as an indispensable road map for researchers and those interested in the digital humanities, women’s writing, and Canadian culture and literature. Contributors: Jeffery Antoniuk, Susan Brown, Constance Crompton, Ravit H. David, Patricia Demers, Shawn DeSouza-Coelho, Cecily Devereux, Teresa M. Dobson, Sandra Gabriele, Isobel Grundy, Andrea Hasenbank, Paul Hjartarson, Kathleen Kellett, Sasha Kovacs, Vanessa Lent, Margaret Mackey, Breanna Mroczek, Bethany Nowviskie, Ruth Panofsky, Mariana Paredes-Olea, Harvey Quamen, Jennifer Roberts-Smith, Omar Rodriguez-Arenas, Mary-Jo Romaniuk, Stan Ruecker, Lori Saint-Martin, Michelle Schwartz, Stéfan Sinclair, Mireille Mai Truong, Stéphanie Walsh Matthews, Heather Zwicker.
Canadian Performance Documents and Debates provides insight into performance activities from the seventeenth century to the early 1970s, and probes important yet vexing questions about Canada as a country and a concept. The volume collects playscripts and archival material to explore what these documents tell us about the values, debates, and priorities of artists and their audiences from the past 400 years. Analyses throughout rethink the significance of theatre, dance, opera, circus, and other performance genres and events. This landmark collection challenges readers to reconsider Canadian theatre and performance history. Contributors: Clarence S. Bayne, Kym Bird, Justin A. Blum, Amy Bowring, Jill Carter, Jenn Cole, Cynthia Cooper, Heather Davis-Fisch, Moira J. Day, Ray Ellenwood, Alan Filewod, Howard Fink, Liza Giffen, J. Paul Halferty, James Hoffman, Erin Hurley, John D. Jackson, Stephen Johnson, Sasha Kovacs, Sylvain Lavoie, Louis Patrick Leroux, Allana C. Lindgren, Denyse Lynde, Erin Joelle McCurdy, Wing Chung Ng, Glen F. Nichols, M. Cody Poulton, VK Preston, Daniel J. Ruppel, Jordan Stanger-Ross, Paul J. Stoesser, Christl Verduyn, Anthony J. Vickery, Anton Wagner
The Routledge Handbook of Reenactment Studies provides the first overview of significant concepts within reenactment studies. The volume includes a co-authored critical introduction and a comprehensive compilation of key term entries contributed by leading reenactment scholars from Europe, North America, and Australia. Well into the future, this wide-ranging reference work will inform and shape the thinking of researchers, teachers, and students of history and heritage and memory studies, as well as cultural studies, film, theater and performance studies, dance, art history, museum studies, literary criticism, musicology, and anthropology.
In the “post-truth” era, the question of how people perceive things to be real, even when they are not based in fact, preoccupies us. Lessons learned in the theatre – about how emotion and affect produce an experience of realness – are more relevant than ever. Real-ish draws on extensive interviews with audience members about their perceptions of realness in documentary, participatory, historical, and immersive performances. In studying these forms that make up the theatre of the real, Kelsey Jacobson considers how theatrical experiences of realness not only exist as a product of their real-world source material but can also unfurl as real products in their own right. Using the concept of real-ish-ness – which captures the complex feeling that is generated by engaging with elements of reality – the book examines how audiences experience the apparently real within the time and space of a performance, and how it is closely tied to the immediacy and intimacy experienced in relation to others. When feeling – rather than fact –becomes a way of knowing truths about the world, understanding the cultivation and circulation of such feelings of realness is paramount. In exploring this process, Real-ish centres audience voices and, perhaps most importantly, audience feelings during performance.
One of the most commonly taught slave narratives, Harriet Jacobs's Incidents in the Life of a Slave Girl is rightly celebrated for its progressive and distinctive appeals to dismantle the dehumanizing system of American slavery. Depicting the abuse Jacobs experienced, her years in hiding, and her escape to the North, the work evokes sympathy for Jacobs as a woman and a mother. Today, it continues to inform readers about gender and sexuality, power and justice, and Black identity in the United States. Part 1 of this volume, "Materials," discusses different editions of the work and suggests background readings. The essays in part 2, "Approaches," explore Jacobs's literary techniques and influences, drawing on autobiography theory, medical humanities, and theology, among other perspectives. Contributors also propose pairings with historical and recent literary works as well as teaching approaches involving visual arts, geography, archives, digital humanities, and service learning.
This is the first book to consider the formation, history, and practice of Asian Canadian theatre.
Bloody Tyrants and Little Pickles traces the theatrical repertoire of a small group of white Anglo-American actresses as they reshaped the meanings of girlhood in Britain, North America, and the British West Indies during the first half of the nineteenth century. It is a study of the possibilities and the problems girl performers presented as they adopted the manners and clothing of boys, entered spaces intended for adults, and assumed characters written for men. It asks why masculine roles like Young Norval, Richard III, Little Pickle, and Shylock came to seem “normal” and “natural” for young white girls to play, and it considers how playwrights, managers, critics, and audiences sought to contain or fix the at-times dangerous plasticity they exhibited both on and off the stage. Schweitzer analyzes the formation of a distinct repertoire for girls in the first half of the nineteenth century, which delighted in precocity and playfulness and offered up a model of girlhood that was similarly joyful and fluid. This evolving repertoire reflected shifting perspectives on girls’ place within Anglo-American society, including where and how they should behave, and which girls had the right to appear at all.