Rémi Labrecque propose une analyse d’une œuvre fransaskoise, Green Mustang de Laurier Gareau, qui se penche sur le mélange du français et de l’anglais dans le texte ainsi que sur l’attitude interlinguistique propre aux trois personnages de la pièce. Après avoir comparé les attitudes entraînées par les différents contextes socioculturels et historiques dont chaque personnage est issu, il a recours aux écrits de Patrick Chamoiseau, de Nicole Côté, de Jacques Derrida, de Robert Dion, de Maria Ferré et d’Édouard Glissant afin de mieux définir le concept du « côté mur » et du « côté relation », qui lui permet de situer l’attitude interlinguistique des personnages de Laurier Gareau. Il s’attarde enfin sur l’influence de l’anglais sur le français dans la pièce dans l’espoir de présenter un portrait juste de l’hétéroglossie qui s’y trouve.
{"title":"Green Mustang de Laurier Gareau : L’involution surmontée, ou l’automne d’un patriarche qui perd ses plumes","authors":"R. Labrecque","doi":"10.3138/tric-2022-0011","DOIUrl":"https://doi.org/10.3138/tric-2022-0011","url":null,"abstract":"Rémi Labrecque propose une analyse d’une œuvre fransaskoise, Green Mustang de Laurier Gareau, qui se penche sur le mélange du français et de l’anglais dans le texte ainsi que sur l’attitude interlinguistique propre aux trois personnages de la pièce. Après avoir comparé les attitudes entraînées par les différents contextes socioculturels et historiques dont chaque personnage est issu, il a recours aux écrits de Patrick Chamoiseau, de Nicole Côté, de Jacques Derrida, de Robert Dion, de Maria Ferré et d’Édouard Glissant afin de mieux définir le concept du « côté mur » et du « côté relation », qui lui permet de situer l’attitude interlinguistique des personnages de Laurier Gareau. Il s’attarde enfin sur l’influence de l’anglais sur le français dans la pièce dans l’espoir de présenter un portrait juste de l’hétéroglossie qui s’y trouve.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75320893","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}
This article explores the directing practice of Algonquin and Irish theatre artist Yvette Nolan. Though Nolan is best known as a playwright, this article instead focuses on Nolan as “mentor to a generation of artists” and a significant contemporary theatre director whose interventions into inherited, colonial theatre practices warrant dissemination and discussion. The article explores her directing practice using three major themes: 1) values, process, and who is in the room; 2) food and joy and/as Ceremony; and, 3) vision and excellence. Working to situate hirself relationally as per Indigenous research practices, the non-Indigenous author uses original interviews, existing scholarship, and personal experiences collaborating with Nolan to inform this personal reflection on her practice.
{"title":"The Hierarchy on Its Side Becomes a Circle: The Directing Practices and Mentorship of Yvette Nolan","authors":"C. Peters","doi":"10.3138/tric-2023-0010","DOIUrl":"https://doi.org/10.3138/tric-2023-0010","url":null,"abstract":"This article explores the directing practice of Algonquin and Irish theatre artist Yvette Nolan. Though Nolan is best known as a playwright, this article instead focuses on Nolan as “mentor to a generation of artists” and a significant contemporary theatre director whose interventions into inherited, colonial theatre practices warrant dissemination and discussion. The article explores her directing practice using three major themes: 1) values, process, and who is in the room; 2) food and joy and/as Ceremony; and, 3) vision and excellence. Working to situate hirself relationally as per Indigenous research practices, the non-Indigenous author uses original interviews, existing scholarship, and personal experiences collaborating with Nolan to inform this personal reflection on her practice.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"10 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72479125","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":"Susan Dion, Braided Learning: Illuminating Indigenous Presence through Art and Story","authors":"Jessica Watkin","doi":"10.3138/tric-2023-0003","DOIUrl":"https://doi.org/10.3138/tric-2023-0003","url":null,"abstract":"","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"46 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90561626","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}
Toronto-based Canadian theatre group Mammalian Diving Reflex produced various editions resulting from its city tour of the performance All the Sex I’ve Ever Had (shortened as AtS) from 2010 to present, including AtS-International Edition (2014) in Toronto. In this article, Heunjung Lee analyzes the live performance of multiple city editions, most notably AtS-Gwangmyeong (2021), to understand the relational aesthetics and dramaturgy it installs among older community performers, younger creative team members, and the audience. By demonstrating the performative power of aged citizens on stage to document, remember, and combat the ageist perspectives that are deeply rooted in many cultures, including Canada, this and other editions of AtS reveal and counter the ageist stigma around the sexuality of older adults. Heunjung Lee draws on this analysis to reframe non-professional older performers as experts of age/ing, drawing on the notion of “experts of everyday” which describes non-professional performers in Reality Theatre. This new term illuminates the generosity, vulnerability, and power of the older performers who (en)counter ageist perceptions and assumptions against old age by sharing their unique experience and view of ageing, sex, and life.
{"title":"En/Countering Ageism Together: All the Sex I’ve Ever Had by Mammalian Diving Reflex","authors":"H. Lee","doi":"10.3138/tric-2022-0004","DOIUrl":"https://doi.org/10.3138/tric-2022-0004","url":null,"abstract":"Toronto-based Canadian theatre group Mammalian Diving Reflex produced various editions resulting from its city tour of the performance All the Sex I’ve Ever Had (shortened as AtS) from 2010 to present, including AtS-International Edition (2014) in Toronto. In this article, Heunjung Lee analyzes the live performance of multiple city editions, most notably AtS-Gwangmyeong (2021), to understand the relational aesthetics and dramaturgy it installs among older community performers, younger creative team members, and the audience. By demonstrating the performative power of aged citizens on stage to document, remember, and combat the ageist perspectives that are deeply rooted in many cultures, including Canada, this and other editions of AtS reveal and counter the ageist stigma around the sexuality of older adults. Heunjung Lee draws on this analysis to reframe non-professional older performers as experts of age/ing, drawing on the notion of “experts of everyday” which describes non-professional performers in Reality Theatre. This new term illuminates the generosity, vulnerability, and power of the older performers who (en)counter ageist perceptions and assumptions against old age by sharing their unique experience and view of ageing, sex, and life.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81922346","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}
The BC Alliance for Arts and Culture undertook research on how arts organizations offered programming and engagement opportunities during the COVID-19 pandemic. This article introduces that research and focuses on one arts program that was part of the study: a seniors theatre program conducted in Revelstoke, BC, that allowed seniors to connect, engage, and have fun, especially during the winters of 2020–2021.
{"title":"Creativity, COVID-19, and Care: An Examination of Theatre as Care during Lockdown","authors":"Carolyne Clare, Anita Hallewas","doi":"10.3138/tric-2022-0014","DOIUrl":"https://doi.org/10.3138/tric-2022-0014","url":null,"abstract":"The BC Alliance for Arts and Culture undertook research on how arts organizations offered programming and engagement opportunities during the COVID-19 pandemic. This article introduces that research and focuses on one arts program that was part of the study: a seniors theatre program conducted in Revelstoke, BC, that allowed seniors to connect, engage, and have fun, especially during the winters of 2020–2021.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81833605","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}
Using performance and visual studies methodologies, this article responds to the interwoven and contextually specific happenings of the pandemic and histories of Black consciousness and antiblackness in Montreal’s theatres. In doing so, it creates parallels between past and present events as surrogates, ghostings, or performative encounters of Black experiences on theatrical stages in a white Quebecois landscape. It argues that the 2020 Black Lives Matter protests were a product of a longstanding local cultural economy of obfuscated antiblackness, an embodied, spatially ingrained, and reinforced set of historical paradigms that have been present in Quebecois life and more specifically on Montreal stages for centuries. The architecture of Montreal theatre, its actors, and spectres of recent events are theoretically framed as both racism and resistance, antiblackness and forms of Black consciousness, a view onto the past from the present, and a repository of performances, living archives, and embodied collective imaginaries.
{"title":"A Crowd of Shadows: Performances, Protests, Streets and Stages","authors":"Didier Morelli","doi":"10.3138/tric-2022-0006","DOIUrl":"https://doi.org/10.3138/tric-2022-0006","url":null,"abstract":"Using performance and visual studies methodologies, this article responds to the interwoven and contextually specific happenings of the pandemic and histories of Black consciousness and antiblackness in Montreal’s theatres. In doing so, it creates parallels between past and present events as surrogates, ghostings, or performative encounters of Black experiences on theatrical stages in a white Quebecois landscape. It argues that the 2020 Black Lives Matter protests were a product of a longstanding local cultural economy of obfuscated antiblackness, an embodied, spatially ingrained, and reinforced set of historical paradigms that have been present in Quebecois life and more specifically on Montreal stages for centuries. The architecture of Montreal theatre, its actors, and spectres of recent events are theoretically framed as both racism and resistance, antiblackness and forms of Black consciousness, a view onto the past from the present, and a repository of performances, living archives, and embodied collective imaginaries.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"48 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83715123","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}
K. McLeod, L. Leddy, Brittany Luby, E. Stelter, K. Anderson
In 2017, the Kika’ige Historical Society, an Indigenous women’s performance troupe based in Guelph, Ontario, created Tabling 150 in response to the mainstream celebrations of Canada’s sesquicentennial. In Tabling 150, a group of twelve Indigenous women imagined how their grandmothers might have wanted to present themselves, had they been invited to Confederation balls, and to consider what their ancestors might have “brought to the table.” In this article, the members of the Kika’ige, a settler ally performance scholar and research assistant highlight the discomfort this performance created for its settler audience and the ways that such moments of unsettling through performance can prompt settlers to reflect on the roles they need to play in conciliation. The authors consider the importance of the role of space-making in performance specifically and in reconciliation efforts more generally and conclude that challenging colonialism requires creators to offer spaces in which audience members confront their past and process the discomfort associated with inverting nationalist narratives.
{"title":"“I Guess It Was Unsettling”: Indigenous Performance, Nationalist Narratives and Conciliation","authors":"K. McLeod, L. Leddy, Brittany Luby, E. Stelter, K. Anderson","doi":"10.3138/tric-2022-0001","DOIUrl":"https://doi.org/10.3138/tric-2022-0001","url":null,"abstract":"In 2017, the Kika’ige Historical Society, an Indigenous women’s performance troupe based in Guelph, Ontario, created Tabling 150 in response to the mainstream celebrations of Canada’s sesquicentennial. In Tabling 150, a group of twelve Indigenous women imagined how their grandmothers might have wanted to present themselves, had they been invited to Confederation balls, and to consider what their ancestors might have “brought to the table.” In this article, the members of the Kika’ige, a settler ally performance scholar and research assistant highlight the discomfort this performance created for its settler audience and the ways that such moments of unsettling through performance can prompt settlers to reflect on the roles they need to play in conciliation. The authors consider the importance of the role of space-making in performance specifically and in reconciliation efforts more generally and conclude that challenging colonialism requires creators to offer spaces in which audience members confront their past and process the discomfort associated with inverting nationalist narratives.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89569689","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}
Ce texte du forum se concentre sur le cheminement vers la reconnaissance et l’appréciation de la musique en langue des signes comme art vivant pratiqué par des musicien·nes sourd·es. La musique en langue des signes est une forme artistique d’interperformance émergente, composée de performances musicales lyriques et non lyriques liées à la culture des personnes sourdes qui communiquent par le biais de langues des signes. Le forum fait suite à la participation de trois musiciennes sourdes au colloque Partition/Ensemble 2020, à Montréal, au Québec, à l’été 2020, organisée par l’Association canadienne de la recherche théâtrale et la Société québécoise d’études théâtrales. Cette plénière a réuni des musicien·nes sourd·es de partout au Canada pour partager de la façon dont leur créativité, leurs recherches et leurs études sont mobilisées pour produire des œuvres musicales en langue des signes. La discussion subséquente, à laquelle ont participé Youssouf, Witcher et Cripps, porte sur leur cheminement vers de nouveaux projets. Les artistes ont répondu à trois questions : 1) Qu’avez-vous appris de la plénière? 2) Avez-vous produit de nouvelles pièces musicales en langue des signes? Si oui, décrivez les pièces; et 3) Quels sont vos nouveaux travaux liés à la musique en langue des signes (mentorat, recherche, etc.)? En quoi consistent vos travaux?
{"title":"Signed Music and Deaf Musicians: A Follow-Up Dialogue Between Youssouf, Witcher, and Cripps","authors":"Jody H. Cripps, Pamela E. Witcher, Hodan Youssouf","doi":"10.3138/tric.43.2.f01","DOIUrl":"https://doi.org/10.3138/tric.43.2.f01","url":null,"abstract":"Ce texte du forum se concentre sur le cheminement vers la reconnaissance et l’appréciation de la musique en langue des signes comme art vivant pratiqué par des musicien·nes sourd·es. La musique en langue des signes est une forme artistique d’interperformance émergente, composée de performances musicales lyriques et non lyriques liées à la culture des personnes sourdes qui communiquent par le biais de langues des signes. Le forum fait suite à la participation de trois musiciennes sourdes au colloque Partition/Ensemble 2020, à Montréal, au Québec, à l’été 2020, organisée par l’Association canadienne de la recherche théâtrale et la Société québécoise d’études théâtrales. Cette plénière a réuni des musicien·nes sourd·es de partout au Canada pour partager de la façon dont leur créativité, leurs recherches et leurs études sont mobilisées pour produire des œuvres musicales en langue des signes. La discussion subséquente, à laquelle ont participé Youssouf, Witcher et Cripps, porte sur leur cheminement vers de nouveaux projets. Les artistes ont répondu à trois questions : 1) Qu’avez-vous appris de la plénière? 2) Avez-vous produit de nouvelles pièces musicales en langue des signes? Si oui, décrivez les pièces; et 3) Quels sont vos nouveaux travaux liés à la musique en langue des signes (mentorat, recherche, etc.)? En quoi consistent vos travaux?","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80891884","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}
Pour les organismes de théâtre, la pandémie de covid-19 constitue une occasion de réflexion et de considération de leurs pratiques d’accessibilité et de soins au sein de leurs espaces et de leurs démarches. Cet article conjugue les approches de la justice pour les personnes avec un handicap à celles de la conception universelle et la conception axée sur les valeurs pour proposer une nouvelle conception de réaménagement des espaces théâtraux au Canada dotés d’avant-scènes prolongées. Ces concepts s’ajoutent à des recherches existantes sur l’accessibilité et l’intersectionnalité en démontrant comment la pratique théâtrale actuelle des personnes avec un handicap au Canada peut guider la conception et l’utilisation des espaces théâtraux au pays. En outre, les notions présentées répondent aux exigences d’un réexamen important de la façon dont les espaces théâtraux sont employés au Canada, car peu de compagnies théâtrales accordent la priorité à l’accessibilité au-delà de ce qui est exigé par la loi.
{"title":"Theatre is Not Built for Equity: Considering Intersectionality and Disability in Theatre Practice and Design","authors":"Jessica Watkin, David DeGrow","doi":"10.3138/tric.43.2.f03","DOIUrl":"https://doi.org/10.3138/tric.43.2.f03","url":null,"abstract":"Pour les organismes de théâtre, la pandémie de covid-19 constitue une occasion de réflexion et de considération de leurs pratiques d’accessibilité et de soins au sein de leurs espaces et de leurs démarches. Cet article conjugue les approches de la justice pour les personnes avec un handicap à celles de la conception universelle et la conception axée sur les valeurs pour proposer une nouvelle conception de réaménagement des espaces théâtraux au Canada dotés d’avant-scènes prolongées. Ces concepts s’ajoutent à des recherches existantes sur l’accessibilité et l’intersectionnalité en démontrant comment la pratique théâtrale actuelle des personnes avec un handicap au Canada peut guider la conception et l’utilisation des espaces théâtraux au pays. En outre, les notions présentées répondent aux exigences d’un réexamen important de la façon dont les espaces théâtraux sont employés au Canada, car peu de compagnies théâtrales accordent la priorité à l’accessibilité au-delà de ce qui est exigé par la loi.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74642079","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}
Reneltta Arluk est une artiste de théâtre inuvialuit, crie et déné, originaire des Territoires du Nord-Ouest, dont le travail théâtral jouit d’une notoriété croissante. En plus d’être la première femme autochtone à avoir signé une mise en scène au Festival de Stratford, Reneltta Arluk est une poète et une interprète dont les œuvres ont été publiées. Elle participe depuis des décennies à la création d’œuvres originales sur l’Île de la Tortue et au-delà. Pourtant, peu d’écrits se sont consacrés à sa pratique de la mise en scène ou à ses apports aux méthodes de mise en scène plus répandues et à son engagement stratégique avec celles-ci. Une brève introduction sert à situer le travail d’Arluk dans un contexte de sous-représentation des approches des femmes autochtones dans les réflexions sur la mise en scène théâtrale ainsi que la relation de l’auteur avec Reneltta et son travail. S’ensuit une transcription éditée d’un entretien ouvert entre Arluk et Charlie Peters, artiste de théâtre et universitaire allochtone. Ce qui émerge ressemble moins à un cadre singulier et rigide de pratiques qu’un ensemble de convictions, d’idées et de questions qui caractérisent la pratique de la mise en scène d’Arluk en ce moment.
{"title":"Space for Multiple Voices: An Interview with Director Reneltta Arluk","authors":"Charlie Peters","doi":"10.3138/tric.43.2.f02","DOIUrl":"https://doi.org/10.3138/tric.43.2.f02","url":null,"abstract":"Reneltta Arluk est une artiste de théâtre inuvialuit, crie et déné, originaire des Territoires du Nord-Ouest, dont le travail théâtral jouit d’une notoriété croissante. En plus d’être la première femme autochtone à avoir signé une mise en scène au Festival de Stratford, Reneltta Arluk est une poète et une interprète dont les œuvres ont été publiées. Elle participe depuis des décennies à la création d’œuvres originales sur l’Île de la Tortue et au-delà. Pourtant, peu d’écrits se sont consacrés à sa pratique de la mise en scène ou à ses apports aux méthodes de mise en scène plus répandues et à son engagement stratégique avec celles-ci. Une brève introduction sert à situer le travail d’Arluk dans un contexte de sous-représentation des approches des femmes autochtones dans les réflexions sur la mise en scène théâtrale ainsi que la relation de l’auteur avec Reneltta et son travail. S’ensuit une transcription éditée d’un entretien ouvert entre Arluk et Charlie Peters, artiste de théâtre et universitaire allochtone. Ce qui émerge ressemble moins à un cadre singulier et rigide de pratiques qu’un ensemble de convictions, d’idées et de questions qui caractérisent la pratique de la mise en scène d’Arluk en ce moment.","PeriodicalId":53669,"journal":{"name":"Theatre Research in Canada-Recherches Theatrales au Canada","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87165009","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}
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