Canada S Playwrights

After the unexpected death of their parents, two second-generation Italian Canadian brothers must come together to decide whether to hold on to the family home, which is full of secrets and hoarded junk, or save what's left of their strained relationship. When Anthony, an uptight lawyer running for office, arrives with his former actor turned campaign manager wife Cristina, they're set on signing away the house and everything that comes with it. But Enzo, a disorganized plumber, and his much younger, pregnant girlfriend Nat have other plans. The pleasantries quickly turn to tense deliberations that unearth dramatically differing views of the group's past experiences and present values. This clever family dramedy takes a close look at issues that affect modern second-generation immigrant families in Canada--class differences, antiquated old-world beliefs, and a crumbling Canadian dream.

The Canadian Dramatist, Volume 3 The six playwrights discussed in this volume are Carol Bolt, Erica Ritter, Sharon Pollack, Margaret Hollingsworth, Anne Chislett, and Judith Thompson.

Interdependent Magic: Disability Performance in Canada is a collection of plays and interviews by, for, and about Disabled theatre artists that invites readers into the magical worlds of Disability arts culture. The book features four plays as well as interviews with artists Justin Manyfingers and Niall McNeill. In Smudge by Alex Bulmer, a woman details her journey toward Blindness, mourning what she loses and discovering what her other senses provide. Access Me by Boys in Chairs Collective is a celebration of sex and Disability, providing an all-access safe space to spin around. Antarctica by Syrus Marcus Ware imagines a world where racialized people have survived multiple catastrophes and must begin terraforming a new colony. And in Deafy by Chris Dodd, a Deaf public speaker takes the audience on an unexpected journey of discovering what it really means to belong.

Conversations with twelve Canadian woman playwrights give a lively insight into their craft.

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.

A collection of original documents and publications by Canadian theatre professions and cultural commentators.