Your cart is empty.
New Canadian Realisms

New Canadian Realisms

Edited by Roberta Barker & Kim Solga
Subjects: Non-Fiction / Essays
Series: New Essays on Canadian Theatre
Imprint: Playwrights Canada Press
Paperback : 9781770910720, 304 pages, June 2012

Table of contents

Reclaiming Canadian Realisms, Part Two by Roberta Barker and Kim Solga

The Hidden History of Stanislavsky in Canada by Anna Migliarisi

Real Canadian: Performance, Celebrity, and National Identity by Kirsten Pullen

Plaitform Concerns: Trey Anthony’s ’da Kink in my hair by Harvey Young

After the Apple: Post-Lapsarian Realism in Garden//Suburbia—An Autobiographical Site-Specific Work by Jenn Stephenson

The Workings of the “Real”: Système Kangourou’s Performative Theatre by Catherine Cyr, translated by Jeremy Greenway with Elise Kruidenier

From Langue To Body: The Quest for the “Real” in Québécois Theatre by Louis Patrick Leroux

Devising Realisms (An Exchange) by Evan Webber, Alex McLean, and Bruce Barton

Realisms of Redress: Alameda Theatre and the Formation of a Latina/o-Canadian Theatre and Politics by Natalie Alvarez

Drama as Surgical Act: Operative Realism and the Chinese Canadian Redress by Parie Leung

Feminist Realism in Canada: Then and Now by Susan Bennett and Kim Solga

Scripting Reality in the Subjunctive Mood: Everyday Life Performance at the 2010 Toronto G20 Protest and Police Kettle by Susanne Shawyer

In Plain Sight: Inscripted Earth and Invisible Realities by Monique Mojica


New Essays in Canadian Theatre Volume 2: New Canadian Realisms gathers writing by celebrated scholars and artists from both Canada and the US in order to explore what this much-debated genre might be doing for political performance in Canada today. Topics range from Hollywood's influence on the look and feel of the contemporary Canadian "real," to the power and the pitfalls of a "realism of redress" in intercultural Canadian theatre, to the apparently oxymoronic notion of "devised" realism, to the complexities of Indigenous realism(s). Together, this book's authors suggest that Canada's theatrical realisms are, like so much else among us, fractious, multiple, difficult, yet rife with potential.