Anthology of Québec Women's Plays in English Translation: 1966-1986

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Louise Forsyth
Playwrights Canada Press, 2006 - Drama - 570 pages
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Includes Savage Season by Anne H bert; Playing Double by Fran oise Loranger; Mine Sincerely by Marie Savard; Evangeline the Second by Antonine Maillet; Ocean by Marie-Claire Blais; A Clash of Symbols by Luce Guilbeault, Nicole Brossard, Frances Theoret et al.; The Fairies are Thirsty by Denise Boucher; Mummy by Louisette Dussault; The Edge of the Earth is Too Near, Violette Leduc by Jovette Marchessault; Marie-Antoine, Opus One by Lise Vaillancourt; and Night by Marie Laberge.

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Contents

Playing Double Double jeu
73
Mine Sincerely Bien à moi
157
Evangeline the Second Evangéline deusse
185
Copyright

9 other sections not shown

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About the author (2006)

Louise H. Forsyth has always loved performance and theatre. As an amateur lover of the stage, she has acted, sung, danced, written, directed, produced, translated, stage managed, served as props manager, and hung out as much as she could as spectator. Woven into an amateur obsession with theatre has been her professional life, where she wrote two theses on the classic French writer of theatrical comedy, Moli're, taught courses and supervised theses in theatre, drama, and dramatic literature, wrote scholarly studies about French and Quebec playwrights, and theorized about acting and dramatic writing. Her areas of academic specialization are feminist performance and dramaturgy in Quebec.

Along with her passion for what the women of Quebec have written for theatre, she has been engaged for quite some time with developing theories of dramaturgy and acting au feminin, along with revealing the sources of tenacious sexism in the practices and conventions for doing theatre, for studying and evaluating it, and for recounting its history. In short, she has been wondering for quite some time why women's roles have tended to remain stereotypical in works for stage, TV and film, why theatre done by women when its perspective is explicitly derived from a woman's point of view is still easily dismissed with a summary shrug as deserving only condescending scorn, why women's theatrical experimentation is so rarely discussed by scholars as serious theoretical work or used by them in their own theoretical reflections, and why the silence of critics on women and their richly creative activities has not yet been overcome when it comes to their accounts of theatre history.

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