A toi pour toujours... in Cape Breton dialect

[Deborah A. Cottreau]

I left the shores of Canada long ago to explore physical theatre and did 2
years at Lecoq.  This is my gift to the students (I was 'formed' in
Strasberg realism, so Lecoq's techniques were a great relief).  I have had
the opportunity to work Greeks choruses with my students, the commedia
dell'arte, neutral and character mask, and clown.  I look forward, one
day, to open the world of buffoons to them -- and let the world take
cover!

Deborah Cottreau

On Fri, 25 Sep 1998, Shawn Huffman wrote:

> 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
>