This new in paperback edition of World Encyclopedia of Contemporary Theatre covers the Americas, from Canada to Argentina, including the United States. Entries on twenty six countries are preceded by specialist introductions on Theatre in Post-Colonial Latin America, Theatres of North America, Puppet Theatre, Theatre for Young Audiences, Music Theatre and Dance Theatre. The essays follow the series format, allowing for cross-referring across subjects, both within the volume and between volumes. Each country entry is written by specialists in the particular country and the volume has its own teams of regional editors, overseen by the main editorial team based at the University of York in Canada headed by Don Rubin. Each entry covers all aspects of theatre genres, practitioners, writers, critics and styles, with bibliographies, over 200 black & white photographs and a substantial index. This Encyclopedia is indispensable for anyone interested in the cultures of the Americas or in modern theatre. It is also an invaluable reference tool for students and scholars of a wide range of disciplines including history, performance studies, anthropology and cultural studies.

The second volume of the World Encyclopedia of Contemporary Theatre covers the Americas, from Canada to Argentina, including the United States. Entries on twenty-six countries are preceded by specialist introductions on Theatre in Post-Colonial Latin America, Theatres of North America, Puppet Theatre, Theatre for Young Audiences, Music Theatre and Dance Theatre. The essays follow the series format, allowing for cross-referring across subjects, both within the volume and between volumes. Each country entry is written by specialists in the particular country and the volume has its own teams of regional editors, overseen by the main editorial team based at the University of York in Canada headed by Don Rubin. Each entry covers all aspects of theatre genres, practitioners, writers, critics and styles, with bibliographies, over 200 black & white photographs and a substantial index. This is a unique volume in its own right; in conjunction with the other volumes in this series it forms a reference resource of unparalleled value.

A critical introduction to contemporary Canadian playwriting.

Despite a recent increase in the productivity and popularity of Indigenous playwrights in Canada, most critical and academic attention has been devoted to the work of male dramatists, leaving female writers on the margins. In Indigenous Women’s Theatre in Canada, Sarah MacKenzie addresses this critical gap by focusing on plays by Indigenous women written and produced in the socio-cultural milieux of twentieth and twenty-first century Canada. Closely analyzing dramatic texts by Monique Mojica, Marie Clements, and Yvette Nolan, MacKenzie explores representations of gendered colonialist violence in order to determine the varying ways in which these representations are employed subversively and informatively by Indigenous women. These plays provide an avenue for individual and potential cultural healing by deconstructing some of the harmful ideological work performed by colonial misrepresentations of Indigeneity and demonstrate the strength and persistence of Indigenous women, offering a space in which decolonial futurisms can be envisioned. In this unique work, MacKenzie suggests that colonialist misrepresentations of Indigenous women have served to perpetuate demeaning stereotypes, justifying devaluation of and violence against Indigenous women. Most significantly, however, she argues that resistant representations in Indigenous women’s dramatic writing and production work in direct opposition to such representational and manifest violence.

In Montreal Whittaker witnessed the early careers of actors such as Christopher Plummer, Gratien Gélinas, John Colicos, Jean Gascon, Denise Pelletier, and Amelia Hall. He worked in close collaboration with many pioneers of the Little Theatre Movement, the Dominion Drama Festival, and Canadian theatre in general, such as Martha Allan, Charles Rittenhouse, and Pierre Dagenais. His involvement with Dagenais' L'Equipe allows him to report on the early days of francophone theatre in Montreal and the cross-fertilization between Martha Allan's Montreal Repertory Theatre and actor-directors such as Dagenais, Gratien Gélinas, and Yvette Brind'Amour. He also gives us glimpses of the early theatrical spaces in the city that no longer exist, as well as some, such as the Salle de Gésu and the Monument-National, that have survived. This engaging memoir of exciting times is prefaced by a personal tribute from Christopher Plummer and set in context through an introduction, chronology, and bibliography by Jonathan Rittenhouse. Illustrated with a selection of Whittaker's stage and costume designs as well as photographs, Setting the Stage provides a captivating visual record of the period and is a must for everyone interested in Canadian theatre, Canadian arts, culture, and Montreal.

Bird argues that the playwrights, their productions, and their texts express the contradictory relations within these forms of feminism: on the one hand they represent women's social and political emancipation and, on the other, they affirm patriarchal structures and the status quo. Implicitly, this study calls into question what traditionally constitutes drama by treating plays written in non-canonical forms, mounted in nonprofessional venues, and published by marginal presses or not at all as important literary, theatrical, and historical documents.

This book focuses on how we perceive, know and interpret culture across disciplinary boundaries. The study combines theoretical and critical contexts for close readings in culture through discussions of literature, philosophy, history, psychology and visual arts by and about men and women in Europe, the Americas and beyond.