A toi pour toujours... in Cape Breton dialect

[Shawn Huffman]

Given the success of the Scottish translations, the Cape Breton endeavour
sounds really interesting.  I do have a question.  I attended a
translation of Tremblay's Albertine in Halifax (I don't *think* it was in
Haligonian :)  ).  At any rate, I spoke with the play's producer
afterwards and she told me that she faced a lot of animosity because of
her decision to produce a Quebecois play (this was referendum time I
should mention).  I would like to know more about Jarvis's experience.
Where the signs of Quebecness erased?  (In the Glasgow translation, the
names remain French, which gives some curious transcultural echos).  Did
the theatre-goers perceive the play as Quebecois or as Cape-Breton?  Does
Jarvis beleive that these types of translations create a bridge, or do we
weave another *seperate* ;) reality?  Tell us more.

I would also like to know just who these young Canadians are who are
leaving the farm houses of Southern Ontario Gothic (for example) to
explore non-realistic, Lepagian, Wilsonien types of stage work.


Shawn Huffman