This essay uses theories of narrative to examine how Susan Glaspell's Trifles and Sharon Pollock's Blood Relations reflect and resist the ability of narratives to construct identities, create moral meanings, and impose truths. It also explores the dramatisation of experiential knowledge as a means of building communities. Blood Relations ' meta-theatrical self-consciousness, resistance to moral meaning through a refusal of narrative closure, and ambivalence towards the representative nature of personal experiences, in contrast to Trifles ' naturalism, narrative conclusion, and confidence in the assumption of shared women's experiences reflect changes in feminisms, theoretical understandings of experiential knowledge, and strategies for the stage representation of women. L'essai fait appel aux theories de la narration pour examiner comment Trifles (Susan Glaspell) et Blood Relations (Sharon Pollock) correspondent aux capacites de la narration et y resistent a la fois en vue de construire des identites, creer des sens moraux et imposer des verites. Il examine egalement la dramatisation de la connaissance experientielle comme moyen de construction des communautes. La conscience de soi meta theâtrale faisant partie de Blood Relations , la resistance a la signification morale par le refus d'une fermeture sur le plan narratif et l'ambivalence a l'egard de l'aspect representatif des experiences personnelles contrastent avec le naturalisme que propose Trifles , sa conclusion narrative et la confiance en la supposition voulant que les experiences partagees par les femmes correspondent aux changements du feminisme, aux comprehensions theoriques de la connaissance experientielle et aux strategies de representation sur scene de la femme.
{"title":"\"A Different Kind of the Same Thing\": Narrative, Experiential Knowledge, and Subjectivity in Susan Glaspell's Trifles and Sharon Pollock's Blood Relations","authors":"K. Chung","doi":"10.7202/1062384AR","DOIUrl":"https://doi.org/10.7202/1062384AR","url":null,"abstract":"This essay uses theories of narrative to examine how Susan Glaspell's Trifles and Sharon Pollock's Blood Relations reflect and resist the ability of narratives to construct identities, create moral meanings, and impose truths. It also explores the dramatisation of experiential knowledge as a means of building communities. Blood Relations ' meta-theatrical self-consciousness, resistance to moral meaning through a refusal of narrative closure, and ambivalence towards the representative nature of personal experiences, in contrast to Trifles ' naturalism, narrative conclusion, and confidence in the assumption of shared women's experiences reflect changes in feminisms, theoretical understandings of experiential knowledge, and strategies for the stage representation of women. \u0000 L'essai fait appel aux theories de la narration pour examiner comment Trifles (Susan Glaspell) et Blood Relations (Sharon Pollock) correspondent aux capacites de la narration et y resistent a la fois en vue de construire des identites, creer des sens moraux et imposer des verites. Il examine egalement la dramatisation de la connaissance experientielle comme moyen de construction des communautes. La conscience de soi meta theâtrale faisant partie de Blood Relations , la resistance a la signification morale par le refus d'une fermeture sur le plan narratif et l'ambivalence a l'egard de l'aspect representatif des experiences personnelles contrastent avec le naturalisme que propose Trifles , sa conclusion narrative et la confiance en la supposition voulant que les experiences partagees par les femmes correspondent aux changements du feminisme, aux comprehensions theoriques de la connaissance experientielle et aux strategies de representation sur scene de la femme.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84993730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Iris Winston. Staging a Legend: A History of Ottawa Little Theatre","authors":"Jessica Gardiner","doi":"10.7202/1062389AR","DOIUrl":"https://doi.org/10.7202/1062389AR","url":null,"abstract":"","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78548886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Alan Filewod, ed. The CTR Anthology: Fifteen Plays from Canadian Theatre Review","authors":"Anne F. Nothof","doi":"10.7202/1062410AR","DOIUrl":"https://doi.org/10.7202/1062410AR","url":null,"abstract":"","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72900255","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Robert Lecker ed. Canadian Canons: Essays in Literary Value","authors":"Barbara Drennan","doi":"10.7202/1062423AR","DOIUrl":"https://doi.org/10.7202/1062423AR","url":null,"abstract":"","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86850065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Guy Sprung with Rita Much. Hot Ice: Shakespeare in Moscow, A Director's Diary","authors":"Jessica Gardiner","doi":"10.7202/1062400AR","DOIUrl":"https://doi.org/10.7202/1062400AR","url":null,"abstract":"","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83214985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During the 19th and early 20th centuries, before Canada had developed its own indigenous theatrical tradition, a substantial number of Canadian-born or -raised performers enriched the theatres of the United States and England: most of these were women. This article focuses on those female performers born during the 19 th century who pursued successful careers in the United States. One purpose of the article is simply to call the roll of names that have never been gathered together before. Among its other aims is a consideration of these expatriate performers' attitudes toward Canada, and Canada's toward them. Durant le 19ieme siecles et le debut du 20ieme siecles, avant que le Canada ait developpe sa tradition indigene theâtrale, un nombre important d'artistes Canadiens - nes ou eleves - avaient enrichie les theâtres des Etats Unis et ceux de l'Angleterre: la plupart des ces artistes etaient des femmes. Cet article est concentre sur ces femmes artistes nees durant le 19ieme siecle qui ont poursuivie avec succes des carrieres theâtrales aux Etats Unis. Un but de cet article est tout simplement de faire l'appel des noms qui auparavant ne furent jamais assembles. Entre autre, le but de cet article est de bien considerer l'attitude de ces artistes expatriees envers le Canada, et celle du Canada envers elles.
在19世纪和20世纪初，在加拿大发展自己的本土戏剧传统之前，大量在加拿大出生或长大的演员丰富了美国和英国的剧院，其中大多数是女性。这篇文章的重点是那些出生在19世纪，在美国追求事业成功的女演员。这篇文章的目的之一就是简单地点名那些以前从未被聚集在一起的名字。其目的之一是考虑这些外籍演员对加拿大的态度，以及加拿大对他们的态度。杜兰特(Durant)是加拿大著名的艺术大师，也是加拿大著名的艺术大师，是加拿大著名的艺术大师，也是加拿大著名的艺术大师，是加拿大著名的艺术大师，也是加拿大著名的艺术大师，是加拿大著名的艺术大师，也是加拿大著名的艺术大师，是加拿大著名的艺术大师，也是加拿大著名的艺术大师，是加拿大著名的艺术大师，也是加拿大著名的艺术大师。这篇文章集中讨论了女性艺术家需要在1990年和1990年取得成功的女性艺术家的生存能力。但是，这篇文章的目的是为了证明在未来的jamais系统中实现“公平的申诉”是非常重要的。Entre autre, le de de the article est, de bien考虑到艺术家的态度，移居加拿大的人，以及加拿大的人。
{"title":"Canada's Daughters, America's Sweethearts: The Careers of Canadian 'Footlight Favorites' in the United States","authors":"Paula Sperdakos","doi":"10.7202/1062383AR","DOIUrl":"https://doi.org/10.7202/1062383AR","url":null,"abstract":"During the 19th and early 20th centuries, before Canada had developed its own indigenous theatrical tradition, a substantial number of Canadian-born or -raised performers enriched the theatres of the United States and England: most of these were women. This article focuses on those female performers born during the 19 th century who pursued successful careers in the United States. One purpose of the article is simply to call the roll of names that have never been gathered together before. Among its other aims is a consideration of these expatriate performers' attitudes toward Canada, and Canada's toward them.\u0000 Durant le 19ieme siecles et le debut du 20ieme siecles, avant que le Canada ait developpe sa tradition indigene theâtrale, un nombre important d'artistes Canadiens - nes ou eleves - avaient enrichie les theâtres des Etats Unis et ceux de l'Angleterre: la plupart des ces artistes etaient des femmes. Cet article est concentre sur ces femmes artistes nees durant le 19ieme siecle qui ont poursuivie avec succes des carrieres theâtrales aux Etats Unis. Un but de cet article est tout simplement de faire l'appel des noms qui auparavant ne furent jamais assembles. Entre autre, le but de cet article est de bien considerer l'attitude de ces artistes expatriees envers le Canada, et celle du Canada envers elles.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88675854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Jean-Marc Larrue. Le Monument Inattendu: Le Monument-National, 1893-1993","authors":"J. Laflamme","doi":"10.7202/1062412AR","DOIUrl":"https://doi.org/10.7202/1062412AR","url":null,"abstract":"","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86711215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Quite aside from its historical significance as one of the first prairie-generated series to reach national radio and as the definitive work that launched Gowan's career as a radio writer, Gowan's Building of Canada series (1937-38) raises a number of important questions about defining historicity within the context of historical dramatic writing. Where Merrill Denison, an often progressive writer of contemporary stage plays, chooses to celebrate the conventional values of male pioneer adventure, empire-building, war and military glory within the context of his seminal historical radio series, The Romance of Canada (1931), Gowan's Building represents a more complex attempt to reconcile her vision as a trained historian, concerned with the objective chronicling and analysis of the male-dominated world of wars, economy, politics and public life, with her vision as a social activist playwright committed to interpreting the human world through the focus of her socialistic, pacifistic and feminist convictions. Building of Canada de Gowan (1937-38): Laissons de cote son importance historique en tant qu'une des premieres series historiques venant des prairies a paraitre a la radio nationale et en tant que l'oeuvre definitive qui a declenche la carriere de Gowan comme ecrivaine pour la radio. Cette serie souleve beaucoup de questions importantes lorsqu'il s'agit de definir l'historicite dans le contexte de l'ecriture dramatique et historique. Tandis que Merrill Denison, qui ecrit d'une facon souvent progressiste des pieces de theâtre contemporaines, choisit de celebrer les valeurs conventionnelles des aventures des pionniers, de la construction d'un empire, de la guerre et de la gloire militaire dans le contexte de sa serie seminale pour la radio. The Romance of Canada (1931), Building de Gowan represente une tentative plus complexe de concilier sa vision d'historienne diplomee, soucieuse de raconter et d'analyser le monde mâle des guerres, de l'economie, de la politique et de la vie publique, avec sa vision d'activiste sociale tenant a interpreter le monde human a travers ses convictions socialistes, pacifistes et feministes.
高恩的《加拿大建筑》系列(1937- 1938)不仅具有重要的历史意义，是第一部在国家广播电台播出的草原题材连续剧，也是开启高恩广播作家生涯的决定性作品，而且还提出了许多关于在历史戏剧写作的背景下定义历史性的重要问题。梅里尔·丹尼森(Merrill Denison)是一位经常进步的当代舞台戏剧作家，他在其开创性的历史广播剧《加拿大的浪漫》(1931)中选择了颂扬男性先驱冒险、帝国建设、战争和军事荣耀的传统价值观，而《高恩的建筑》则代表了一种更复杂的尝试，以协调她作为一名训练过的历史学家的愿景，她关注于客观地记录和分析男性主导的战争、经济、政治和公共生活，作为一个社会活动家的剧作家，她致力于通过她的社会主义、和平主义和女权主义信念来解释人类世界。加拿大建筑de延命菊(1937 - 38):Laissons de cote儿子重要性historique en组如此更一des首映式系列historiques文南des草原paraitre la广播国家等在如此更,l菜明确declenche la carriere de延命菊像ecrivaine pour la收音机。我们的系列解决了许多重要的问题，我们的系列解决了许多重要问题，我们的系列解决了许多重要问题，我们的系列解决了许多重要问题，我们的系列解决了许多重要问题，我们的系列解决了许多重要问题。丹尼森先生，当代艺术作品的进步主义者，先行者的冒险者，帝国的建设者，战争的斗士，军事的荣耀，广播的研讨会的背景。《加拿大罗曼史》(1931)，《高旺大厦》代表了一种尝探性的复杂的和解，一种历史的视角，一种社会的视角，一种社会的视角，一种世界的视角，一种社会的视角，一种经济的视角，一种政治的视角，一种公共生活的视角，一种社会活动的视角，一种社会的视角，一种社会的视角，一种阐释，一种信念，一种社会主义者，一种和平主义者，一种女权主义者。
{"title":"Elsie Park Gowan's (re)-Building of Canada, 1937-1938: Revisioning the Historical Radio Series through Feminist Eyes","authors":"Moira Day","doi":"10.7202/1062416AR","DOIUrl":"https://doi.org/10.7202/1062416AR","url":null,"abstract":"Quite aside from its historical significance as one of the first prairie-generated series to reach national radio and as the definitive work that launched Gowan's career as a radio writer, Gowan's Building of Canada series (1937-38) raises a number of important questions about defining historicity within the context of historical dramatic writing. Where Merrill Denison, an often progressive writer of contemporary stage plays, chooses to celebrate the conventional values of male pioneer adventure, empire-building, war and military glory within the context of his seminal historical radio series, The Romance of Canada (1931), Gowan's Building represents a more complex attempt to reconcile her vision as a trained historian, concerned with the objective chronicling and analysis of the male-dominated world of wars, economy, politics and public life, with her vision as a social activist playwright committed to interpreting the human world through the focus of her socialistic, pacifistic and feminist convictions. \u0000 Building of Canada de Gowan (1937-38): Laissons de cote son importance historique en tant qu'une des premieres series historiques venant des prairies a paraitre a la radio nationale et en tant que l'oeuvre definitive qui a declenche la carriere de Gowan comme ecrivaine pour la radio. Cette serie souleve beaucoup de questions importantes lorsqu'il s'agit de definir l'historicite dans le contexte de l'ecriture dramatique et historique. Tandis que Merrill Denison, qui ecrit d'une facon souvent progressiste des pieces de theâtre contemporaines, choisit de celebrer les valeurs conventionnelles des aventures des pionniers, de la construction d'un empire, de la guerre et de la gloire militaire dans le contexte de sa serie seminale pour la radio. The Romance of Canada (1931), Building de Gowan represente une tentative plus complexe de concilier sa vision d'historienne diplomee, soucieuse de raconter et d'analyser le monde mâle des guerres, de l'economie, de la politique et de la vie publique, avec sa vision d'activiste sociale tenant a interpreter le monde human a travers ses convictions socialistes, pacifistes et feministes.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76607153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Michael Sidnell has drawn attention to the potential for dramatic monologue to be dialogic in ways that dialogue in the theatre rarely is, and he has pointed to a recent proliferation of dialogic monologue in Canadian theatre. This essay will examine the potentially dialogic function of monologue in some contemporary Canadian plays. Questions central to this examination will be: when is monologue dialogic, and what are the effects of dialogic monologue? Considering that the actor often stands indexicallyfor an autonomous subject which is easily conflated with the character the actor is playing, we are interested in looking at how the dialogism of the character's monologue might destabilize subjectivity. Looking at monologues from a range of contemporary Canadian scripts and performances, we will consider how the dialogic configuration of subjectivity affects gender, race, and sexuality. And considering that dialogism may be (as Helene Keyssar has argued it was for Bakhtin) "key to the deprivileging of absolute, authoritarian discourses," we are interested in what specific "authoritarian discourses" contemporary Canadian dialogic monologue deprivileges. Michael Sidnell a attire notre attention sur le fait que le monologue dramatique au theâtre peut etre dialogique d'une maniere tres differente du dialogue, et il a note que le monologue dialogique est desormais tres frequent dans le theâtre canadien. Notre essai analyse la fonction potentiellement dialogique du monologue dans quelques pieces canadiennes contemporaines et il s'articule autour des questions suivantes: quand le monologue est-il dialogique, et quels en sont les effets. Considerant le fait que l'acteur est lui-meme souvent le signe d'un sujet autonome pouvant etre assimile-identifie facilement au personnage qu'il joue, nous nous attacherons a observer comment le dialogisme du monologue du personnage peut destabiliser la subjectivite. En analysant des monologues extraits de plusieurs pieces et spectacles canadiens contemporains, nous essayerons de comprendre comment la configuration dialogique de la subjectivite influence la representation des genres, des races et de la sexualite. Enfin, et considerant que le dialogisme (selon Helen Keyssar, Bakhtin serait d'accord avec cette theorie) depouille de leurs privileges les discours absolus et autoritaires, nous nous interesserons particulierement aux discours autoritaires que deprivilegie le monologue dialogique canadien contemporain.
迈克尔·西德内尔(Michael Sidnell)引起了人们对戏剧独白具有对话性的潜力的关注，而戏剧中的对话很少具有对话性，他指出了最近加拿大戏剧中对话独白的激增。本文将探讨当代加拿大戏剧中独白的潜在对话功能。这次考试的中心问题是:什么时候独白是对话式的，对话式独白的效果是什么?考虑到演员经常直接代表一个自主的主体，这很容易与演员所扮演的角色混为一谈，我们有兴趣研究角色独白的对话如何破坏主体性。从一系列当代加拿大剧本和表演的独白来看，我们将考虑主体性的对话配置如何影响性别，种族和性。考虑到对话可能是(就像海伦·凯萨所说的巴赫金的)“剥夺绝对权威话语特权的关键”，我们感兴趣的是当代加拿大对话独白剥夺了哪些具体的“权威话语”。迈克尔·西德内尔(Michael Sidnell)将注意力集中在《独白》(le fait que le monologue。本文分析了“对话与独白”这一功能潜在要素，即“对话与独白”和“对话与独白”，“对话与独白”和“对话与独白”这两个词的作用。考虑到“事实是我的行为”，“动机是我的行为”，“自我是我的行为”，“自我是我的行为”，“自我是我的行为”，“自我是我的行为”，“观察者评论”，“对话是我的独白”，“人格是我的不稳定”，“主观”。分析者，独白者，外派者，旁观者，加拿大人，当代者，综合者，评论，配置，对话，主观影响，表现，流派，种族，性取向。(参见海伦·凯萨，巴赫金的《绝对的话语与专制的对话》)剥夺特权，剥夺绝对的话语，剥夺特权，剥夺专制的话语，剥夺特权，剥夺独白，剥夺对话，剥夺当代加拿大人的权利。
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R. Burton Deane, a Mounted Police officer, was instrumental in the development of theatre in the Prairie West between 1883 and 1901. His interest in theatre had been an outgrowth of his performance of magic tricks. As an adjutant for the Royal Marines in England he had been placed in charge of a theatre and in that capacity he gained considerable experience in producing, directing and acting. The pioneer communities of Regina and Lethbridge received the benefit of Deane's expertise. His productions supported local charities, improved relations between the Mounties and the local elite, raised crucial issues of social relevance, albeit in a lighthearted manner, and provided theatrical performances of good quality for the newly-established centres. R. Burton Deane, officier de la Mounted Police, exerca une grande influence sur le developpement du theâtre dans les Prairies de l'Ouest entre 1883 et 1901. L'interet qu'il eprouva pour le theâtre vint de son execution de seances de prestidigitation. Quand il etait capitaine adjutant major des Royal Marines en Angleterre on lui avait confie un theâtre ou il gagna de l'expertise a produire et a mettre en scene des pieces et a y jouer. Les communautes pionnieres de Regina et de Lethbridge profiterent de l'expertise de Deane. Ses productions soutenaient des oeuvres de charite de la region, amelioraient les rapports entre les Mounties et l'elite de la region, soulevaient des questions sociales de la premiere importance, bien qu'avec enjouement, etjournissaient des representations de bonne qualite pour les nouveaux centres.
r·伯顿·迪恩是一名骑警，在1883年至1901年间，他在西部大草原的戏剧发展中发挥了重要作用。他对戏剧的兴趣是他表演魔术的结果。作为英国皇家海军陆战队的副官，他被安排负责一家剧院，在这个职位上，他在制作、导演和表演方面积累了相当多的经验。里贾纳和莱斯布里奇的先锋社区受益于迪恩的专业知识。他的作品支持了当地的慈善机构，改善了骑警与当地精英之间的关系，提出了与社会相关的关键问题，尽管是以轻松愉快的方式提出的，并为新成立的中心提供了高质量的戏剧表演。R. Burton Deane，骑警官员，在1883年至1901年期间对西部草原地区的发展产生了重大影响。L'interet qu'il eprouva pour le thetretrevint de son execution de seances de presdigitation。Quand将在英国皇家海军陆战队(Royal Marines)的Angleterre上担任上尉副官，在英国皇家海军陆战队(Royal Marines)上担任上尉副官，在英国皇家海军陆战队(the Royal marine)上担任高级军官，在英国皇家海军陆战队(the theatre)上担任高级军官。Les communtes先锋de Regina和de Lethbridge profiterent de l'expertise de Deane。这些活动包括:促进区域发展、促进区域发展、促进区域发展、促进区域发展、促进区域发展、促进区域发展、促进区域发展、促进区域发展、促进区域发展。
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