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"Ethnic," Multicultural, and Intercultural Theatre

"Ethnic," Multicultural, and Intercultural Theatre

Edited by Ric Knowles & Ingrid Mündel
Series edited by Ric Knowles
Subjects: Non-Fiction / Essays
Series: Critical Perspectives on Canadian Theatre in English
Imprint: Playwrights Canada Press
Paperback : 9780887548321, 232 pages, May 2009

Table of contents

"When the Performer is Black" by Rita Shelton Deverell (1986)

"Heritage or Cultural Evolution: Federal Policy on Multiculturalism and the Arts" by Carol Off (1988)

"On Their Own Terms" by Beverly Yhap (1988)

"Angry Enough to Spit, But With Dry Lips it Hurts More Than You Know" by Marie Annharte Baker (1991)

"Family Matters: Reflections of Italian-Canadian Culture" by Angela Baldassarre (1994)

"'Coming Together' in Lift Off! ’93: Intercultural Theatre in Toronto and Canadian Multiculturalism" by Mayte Gómez (1994)

"Into the Margins…" by Lorena Gale (1995)

" Transgressive Storytelling or an Aesthetic of Injury: Performance, Pedagogy and Ethics" by Julie Salverson (1999)

"Where is the Here Now?: Living the Border in the New Canadian Drama" by Jerry Wasserman (2000)

"'A Word in a Foreign Language': On Not Translating in the Theatre" by Julie Byczynski (2000)

"'The Whole Thing You're Doing is White Man's Ways': farewell's Northern Tour" by Christine Lenze (2001)

"Chinese Theatre in Canada: The Bigger Picture" by Jean Yoon (2002)

"Seven Things About Cahoots Theatre Projects" by Guillermo Verdecchia (2003)

from Black and White and Re(a)d All Over Again: Indigenous Minstrelsy in Contemporary Canadian and Australian Theatre by Helen Gilbert (2003)

from Diaspora and the Theatre of the Nation by Aparna Dharwadker (2003)

"Can I Get a Witness?: Performing Community in African-Nova Scotian Theatre" by Maureen Moynagh (2006)

"Remember the Nation: Lorena Gale's Je me souviens by Joanne Tompkins (2006)

"Performing Intercultural Memory in the Diasporic Present: The Case of Toronto" by Ric Knowles (2008)

"Staging Racial Hybridity: Somatextual Complexities in Contemporary Canadian Drama" by Michelle La Flamme (2009)


"Audiences for intercultural theatre in our experience have become increasingly diverse in recent years, at productions by genuinely intercultural companies… Productions no longer need appeal either to the traditional white middle-class audience of Canada's so-called "main stages" (including those of the former "alternative" theatres) nor to communities narrowly defined by culture or interest—what used to be called "preaching to the converted. .." —from the introduction