En savoir plus
This fourth edition contains "The Ecstasy of Rita Joe," "Fortune and Men's Eyes," "Les Belle Soeurs," "Leaving Home" and others.
A propos de l'auteur
Jerry WassermanProfessor of English and Theatre at the University of British Columbia, Jerry Wasserman has written and lectured widely on Canadian theatre, modern fiction, dramatic literature, theatre history and blues music; edited the two-volume anthology
Modern Canadian Plays, a standard course text now in its fourth edition; made over two hundred appearances on stage, film and television; and served for over fifteen years as a drama critic on CBC Radio. He is currently the editor of
Vancouverplays.com, an informative Web site that provides up-to-date listings and reviews of local theatre performances.
Résumé
“I don’t see how a play can be Canadian. I don’t think there are any plays that you could call strictly Canadian … What does that phrase mean?”
Now, thirty-three years after Canadian directors spoke their minds, or rather shrugged their shoulders at the seeming hopelessness of de-colonizing Canadian theatre, this fourth edition of the “classic” Modern Canadian Plays sets out for us an even broader range of plays than previous editions, outlining a Canadian drama-scene that is far from colonial, inert, middle-class, or middle-aged. spanning the years from 1967 to 1997, this anthology will likely continue to be the standard anthology for Canadian drama—and not without good reason.
Edited by Jerry Wasserman—professor at the University of British Columbia, theatre critic for CBC, and one of Vancouver’s most recurring (and memorable) faces on television— Volume I still contains plays such as George Ryga’s seminal and highly political The Ecstasy of Rita Joe (first performed in 1967, it was described as a “cicatrice” of Canadian society that “showed the bleeding flesh beneath”), as well as Michel Tremblay’s Les Belles-Soeurs (one of the most critically acclaimed plays in Canada, translated from the original, controversial, joual). But more to the point, this edition of Volume I carries with it an even more distinct flavour of adventurousness in its juxtaposition of plays that are strikingly, even wildly, various—plays that can only be said to cohere around the difficulty of amorphous notions such as social justice, cultural belonging, and the existence of a collective past.
The plays in this fourth edition of Modern Canadian Plays: Volume I date from 1967 to 1986:
The Ecstasy of Rita Joe by George Ryga
Fortune and Men’s Eyes by John Herbert
Les Belles-Soeurs by Michel Tremblay
Leaving Home by David French
1837: The Farmer’s Revolt by Rick Salutin and Theatre Passe Muraille
The St. Nicholas Hotel by James Reaney
Zastrozzi by George F. Walker
Billy Bishop Goes to War by John MacLachlan Gray with Eric Peterson
Balconville by David Fennario
Doc by Sharon Pollock
Drag Queens on Trial by Sky Gilbert
The Occupation of Heather Rose by Wendy Lill
