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Essay topics range from Hollywood’s influence on the look of the contemporary Canadian “real,” to the power and the pitfalls of a “realism of redress” in intercultural Canadian theatre, to the apparently oxymoronic notion of “devised” realism, to the complexities of Indigenous realism(s). Together, this book’s writers suggest that Canada’s theatrical realisms are fractious, multiple, difficult, yet rife with potential.
Price: $25.00
Pages: 240
Publisher: Theatre Communications Group
Imprint: Playwrights Canada Press
Publication Date:
24 July 2012
Trim Size: 9.00 X 6.00 in
ISBN: 9781770910720
Format: Paperback
Roberta Barker is Associate Professor of Theatre at Dalhousie University and the University of King’s College. She is the author of Early Modern Tragedy, Gender and Performance, 1984–2000: The Destined Livery. Her work on early modern and modern drama in performance has been published in Shakespeare Survey, Shakespeare Quarterly, Modern Drama, and Early Theatre, among other journals and essay collections, while her articles on contemporary Atlantic Canadian theatre have appeared in Canadian Theatre Review and Theatre in Atlantic Canada.
Kim Solga is Associate Professor of English at the University of Western Ontario and Senior Lecturer in Drama at Queen Mary, University of London. She is the author of Violence Against Women in Early Modern Performance: Invisible Acts, and co-editor of Performance and the City and Performance and the Global City. Her work on Canadian performance has appeared in Theatre Research in Canada, Canadian Theatre Review, The Drama Review, and Theatre Journal, as well as in several essay collections.
Kim Solga is Associate Professor of English at the University of Western Ontario and Senior Lecturer in Drama at Queen Mary, University of London. She is the author of Violence Against Women in Early Modern Performance: Invisible Acts, and co-editor of Performance and the City and Performance and the Global City. Her work on Canadian performance has appeared in Theatre Research in Canada, Canadian Theatre Review, The Drama Review, and Theatre Journal, as well as in several essay collections.