{"title":"Laurence Dauphinais 的《Cyclorama》中的戏剧碰撞","authors":"Sunita Nigam","doi":"10.3138/ctr.197.026","DOIUrl":null,"url":null,"abstract":"In this article, the author reviews Cyclorama, the latest theatrical production by Montreal-based multidisciplinary creator Laurence Dauphinais, co-produced by the anglophone Centaur Theatre and the francophone Théatre d’aujourd’hui. The author situates Dauphinais’s groundbreaking bilingual play, which the latter conceives of as “a bilingual documentary pilgrimage” of the linguistically divided solitudes of Montreal theatre, within a larger linguistic culture of theatre-going and theatre-making in Quebec. Arguing that Dauphinasis’s project derives its energetic charge from its break with a distinctly Québécois way of living, performing, and spectating, the author reflects on the different kinds of theatrical collisions enacted by Cyclorama.","PeriodicalId":42646,"journal":{"name":"CANADIAN THEATRE REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Theatrical Collisions in Laurence Dauphinais’s Cyclorama\",\"authors\":\"Sunita Nigam\",\"doi\":\"10.3138/ctr.197.026\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In this article, the author reviews Cyclorama, the latest theatrical production by Montreal-based multidisciplinary creator Laurence Dauphinais, co-produced by the anglophone Centaur Theatre and the francophone Théatre d’aujourd’hui. The author situates Dauphinais’s groundbreaking bilingual play, which the latter conceives of as “a bilingual documentary pilgrimage” of the linguistically divided solitudes of Montreal theatre, within a larger linguistic culture of theatre-going and theatre-making in Quebec. Arguing that Dauphinasis’s project derives its energetic charge from its break with a distinctly Québécois way of living, performing, and spectating, the author reflects on the different kinds of theatrical collisions enacted by Cyclorama.\",\"PeriodicalId\":42646,\"journal\":{\"name\":\"CANADIAN THEATRE REVIEW\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2024-06-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"CANADIAN THEATRE REVIEW\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3138/ctr.197.026\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"N/A\",\"JCRName\":\"THEATER\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"CANADIAN THEATRE REVIEW","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3138/ctr.197.026","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"N/A","JCRName":"THEATER","Score":null,"Total":0}
Theatrical Collisions in Laurence Dauphinais’s Cyclorama
In this article, the author reviews Cyclorama, the latest theatrical production by Montreal-based multidisciplinary creator Laurence Dauphinais, co-produced by the anglophone Centaur Theatre and the francophone Théatre d’aujourd’hui. The author situates Dauphinais’s groundbreaking bilingual play, which the latter conceives of as “a bilingual documentary pilgrimage” of the linguistically divided solitudes of Montreal theatre, within a larger linguistic culture of theatre-going and theatre-making in Quebec. Arguing that Dauphinasis’s project derives its energetic charge from its break with a distinctly Québécois way of living, performing, and spectating, the author reflects on the different kinds of theatrical collisions enacted by Cyclorama.