Theatre Research in Canada, vol 34.1

[Marlis Schweitzer]

/Theatre Research in Canada// /Recherches théâtrales au Canada/

announces the publication of Vol. 34. No. 1:

*"Canadian Performances/Global Redefintions/**Théâtre Canadien et 
Redéfinitions Planétaires**"*

*Guest-edited by Reid Gilbert and Marc Maufort.*

The issue presents articles by Yana Meerzon, Ginny Ratsoy, Judith 
Halebsky, Diana Manole, and Alex Lazaridis Ferguson that "explore some 
of the ways in which Canadian performances are being reconfigured in our 
age of globalization" (Introduction).

Meerzon examines the transposition of Lebanese-Quebecois playwright 
Wajdi Mouawad's /Incendies/ into film, exploring notions of postmemory 
and the exilic experience.

Ratsory analyses a specific experiment in global collaboration between 
Toronto's Waterfront and Cape Town's Baxter Theatres---/Ubuntu (The Cape 
Town Project/)---considering generational conflict in two differing 
cultures as viewed through a collaborative performance-experiment.

Halebsky discusses the translation of Japanese /Noh/ style for Canadian 
audiences in the staging of Daphne Marlatt's /The Gull/, proposing a 
"constellation translation," and examining questions of non-hierarchal 
forms of cultural exchange.

Manole re-examines Judith Thompson's /Sled/, considering the contested 
politics of Canadian multiculturalism within a wider global sense of 
exile as "a shared identity marker" (79).

Lazaridis Ferguson applies and questions Csikszentmihalyi, Dewey, 
Fischer-Lichte and, especially, Bourdieu's theory of symbolic capital to 
describe exchanges among performing arts festivals in Canada and Europe, 
"demonstrating how cultural systems both enhance and hamper 
cross-cultural exchange" (Introduction).

The issue reviews work by Julie Salverson, Erin Hurley, Judith Rudakoff, 
Normand Chaurette and Hervé Guay.

In 2011, Reid Gilbert held the International Chair at L'Université Libre 
de Bruxelles (Brussels University) where Marc Maufort is Professor of 
English-language Literature and Drama, and this issue arises from that 
collaboration.The editors aimed to "foreground the ways in which 
Canadian artists [. . .] negotiate the cross-cultural advantages and 
homogenizing pitfalls of [. . .] globalization," "understood as a 
phenomenon closely linked with [. . .] recent phases of capitalism" 
(Introduction).


Sincerely,
Marlis Schweitzer, General Editor

-- 
Marlis Schweitzer
Associate Professor
Department of Theatre
York University
4700 Keele St.
Toronto, ON M3J 1P3
416-736-2100 x 66274

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