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The article considers the women's autobiographical theatre as a medium in bridging cultural divides. Canadian auto/biographical works of Marie Clements and Lesley Ewen serve as epitomes intended to assert and perpetuate the truths of women of colour in Canada. Their works, while bringing a...
Windsor House school: Systems, procedures and curriculum that support a democratic educational philosophyDownload
It is my belief that people learn best in situations where they respect and value the people from whom that are leaning as well as feel respected and valued themselves. For these reasons human relationships in learning environments are very important. Democratic structures help to support...
Theatrical Activism in Vancouver: From the Native Brotherhood and Sisterhood of BC to Marie Clements’s The Road Forward and Back…Download
Analyzing the phenomenological performance modes balanced in Marie Clements’s production of The Road Forward during the 2013 Vancouver PuSh festival, I also examine the previous iteration of the project at the Aboriginal Pavilion during the 2010 Winter Olympics. I assert that this production is a...
This article is an introduction to an issue of Canadian Theatre Review dedicated to the topic of commemoration. This issue was assembled in late summer and early autumn 2017 as the majority of “celebrations” of Canada’s sesquicentennial just concluded. Canada’s 150th anniversary has been...
This essay reexamines Richard Brinsley Sheridan's Pizarro (1799), shifting away from the critical tendency to focus on Rolla's speech as a reuse of Sheridan's speech against Warren Hastings to consider instead the significance of Sarah Siddons's performance in the role of Elvira. Drawing on Jacky...
As is apparent from the ‘we’ in the title and the long list of editors, The Winter We Danced is as much a collective of voices as it is a collection of authors. The ‘we’ assembled here all share a connection to the Idle No More (INM) movement. This movement began in November 2012 as an Aboriginal...
Selena Couture muses on the power of framing in her review of the Vancouver productions of plays by Bruce Ruddell and Marie Clements.