DOCSLIB.ORG

Mary Vingoe Fonds (MS-2-777)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mary Vingoe Fonds (MS-2-777) Dalhousie University Archives Finding Aid - Mary Vingoe fonds (MS-2-777) Generated by the Archives Catalogue and Online Collections on January 23, 2017 Dalhousie University Archives 6225 University Avenue, 5th Floor, Killam Memorial Library Halifax Nova Scotia Canada B3H 4R2 Telephone: 902-494-3615 Email: [email protected] http://dal.ca/archives http://findingaids.library.dal.ca/mary-vingoe-fonds Mary Vingoe fonds Table of contents Summary information ...................................................................................................................................... 4 Administrative history / Biographical sketch .................................................................................................. 4 Scope and content ........................................................................................................................................... 5 Notes ................................................................................................................................................................ 5 Access points ................................................................................................................................................... 5 Collection holdings .......................................................................................................................................... 6 Manuscripts of Mary Vingoe (1984-2005) .................................................................................................. 6 Hooligans by Mary Vingoe and Jan Kudelka ........................................................................................... 6 Holy Ghosters by Mary Vingoe ................................................................................................................ 7 Magnetic North Theatre Festival (2002-2007) .......................................................................................... 8 The Road To Rankin's Point by Mary Vingoe (1998) ............................................................................ 13 The Herring Gull's Egg: A Play in Two Acts by Mary Vingoe (1987) .................................................. 15 The Company Store by Mary Vingoe (1993-1996) ................................................................................ 18 Living Curiosities by Mary Vingoe (1991-2010) .................................................................................... 20 Scripts adapted by Mary Vingoe for CBC Morningside Radio Drama (1980-1996) ................................ 26 The Yellow Wallpaper (ca. 1980s) .......................................................................................................... 26 Through the First Antarctic Night (1989) ............................................................................................... 28 Ship's Company Theatre (1988-1990) ........................................................................................................ 29 M.V. Kipawo ............................................................................................................................................ 30 Living Curiosities ..................................................................................................................................... 35 Nightwood Theatre (n.d.) ........................................................................................................................... 37 The True Story of Ida Johnson by Sharon Riis ...................................................................................... 38 Eastern Front Theatre Company (2000-2004) ........................................................................................... 41 Mulgrave Road Theatre .............................................................................................................................. 45 Freelance ..................................................................................................................................................... 47 "Out The Meadow" Written By Bev Brett (2008-2009) ......................................................................... 48 "Underneath The Lintel or The Mystery of the Abandoned Trousers" by Glen Berger (2010) .............. 49 Shakespeare's "Twelfth Night" (2008) ..................................................................................................... 51 "Chimera" by Wendy Lill (2007) ............................................................................................................ 52 "Home" by Colleen Wagner (2010) ........................................................................................................ 54 "To Capture Light - The Imagined Life of a Forgotten Artist" by Mary-Colin Chisholm (2010) ........... 57 "Alden" by Rick Merrill (2011) .............................................................................................................. 59 "An Enemy of the People" by Henrik Ibsen and adapted by David Young (2011) ................................ 61 Dalhousie University Archives Page 2 Mary Vingoe fonds Personnal Papers ......................................................................................................................................... 65 Dalhousie University Archives Page 3 MS-2-777 Mary Vingoe fonds Summary information Repository: Dalhousie University Archives Title: Mary Vingoe fonds Reference code: MS-2-777 Date: 1980-2005 (date of creation) Language: English Physical description: 2.5 m of textual records and graphic material Note [generalNote]: Preferred citation: [Identification of item], Mary Vingoe fonds, MS-2-777, Box [box number], Folder [folder number], Dalhousie University Archives and Special Collections, Halifax, Nova Scotia, Canada. Administrative history / Biographical sketch Note Mary Vingoe was born in Halifax NS and attended Dalhousie University where she graduated with honours and received The University Medal in Theatre in 1976. She completed her MA in Drama at the University of Toronto in 1977. She lived in Toronto for 13 years before returning to Nova Scotia. She is married to composer and saxophonist Paul Cram and they have two daughters. She is the founding Artistic Director of the Magnetic North Theatre Festival in Ottawa, a co-founder and past Artistic Director of Toronto’s feminist Nightwood Theatre, a co-founder and past co-Artistic Director of Ship’s Co. Theatre in Parrsboro and co-founder and past Artistic Director of The Eastern Front Theatre in Halifax. She has directed for major theatres across the country and has acted and written for stage, radio, TV and film. She has been closely associated with the work of many Canadian playwrights, in particular Wendy Lill, for whom she has directed five world premieres four of which were nominated for The Governor General’s Award for Drama. Mary has received many awards including the Mayor’s Award for Achievement in Theatre (2007); the Portia White Prize The, Nova Scotia's highest award for artistic excellence (2009) Robert E. Merritt Award for Achievement in Theatre, and she was made an Officer of the Order of Canada in 2011. She was recently Crake Fellow in Drama at Mount Allison University in New Brunswick, Canada. Custodial history Fonds have been donated by the creator, Mary Vingoe. Dalhousie University Archives Page 4 MS-2-777 Mary Vingoe fonds Scope and content Fonds includes manuscripts, scripts, and personal papers belonging to Mary Vingoe. Fonds also includes theatre programs, contracts, and photographs. Notes Title notes Restrictions on access There are no access restrictions on these materials. All materials are open for research. Conditions governing use Materials do not circulate and must be used in the Archives and Special Collections Reading Room. Materials may be under copyright. Contact departmental staff for guidance on reproduction. Accruals Furthur accruals are expected. Other notes • Publication status: Published Access points • Graphic material (documentary form) • Textual record (documentary form) • Cultural Activities-Archives (subject) • Manuscripts (subject) • Scripts (subject) • Theater programs--Canada (subject) • Theaters--Nova Scotia--Halifax (subject) Dalhousie University Archives Page 5 MS-2-777 Mary Vingoe fonds Collection holdings Series: Manuscripts of Mary Vingoe Title: Manuscripts of Mary Vingoe Date: 1984-2005 (date of creation) Scope and content: This series consists of manuscripts written by Mary Vingoe. Physical description: 45.25 cm of textual records and graphic material File: MS-2-777, Box 2, Folder 2 - Love and Work Enough by Nightwood Theatre Company Title: Love and Work Enough by Nightwood Theatre Company Reference code: MS-2-777, Box 2, Folder 2 Date: 1984 (date of creation) Scope and content: This file contains the manuscript for the Theatre Direct Canada's production. This production was directed by Cynthia Grant and Mary Vingoe with musical direction by Ann Lederman. Physical description: 19 pages Subseries: Hooligans by Mary Vingoe and Jan Kudelka Title: Hooligans by Mary Vingoe and Jan Kudelka File: MS-2-777, Box 2, Folder 3 - Hooligans by Mary Vingoe and Jan Kudelka Title: Hooligans by Mary Vingoe and Jan Kudelka Reference code: MS-2-777, Box 2, Folder 3 Date: 1982 (date of creation) Scope and content: This is the manuscript of the play as performed at Nightwood Theatre. Dalhousie University Archives Page 6 MS-2-777 Mary Vingoe fonds Physical description: 0.5 cm of textual records Physical condition: There is some discoloration on the front cover of
Load more

Recommended publications
  • Celebrating 40 Years
    NightwoodTheatre celebrating 40 years theatre for everyone made by women 2019 - 20 celebrating 40 years NightwoodTheatre In 1979 four women got together because they wanted to make theatre. board members, donors and It seems simple but in reality the very act in itself was political. Our stages funders who have invested in the election were not only dominated by male playwrights, but the new Canadian play the company and the voices it October 9 – 27, 2019 itself was an anomaly. Now, forty years later our voices are heard across the has raised — this success is country and around the world. It is with immense pride that we celebrate yours as well! every day she rose Nightwood’s legacy of propelling the voices of women on our stages, and for November 23 – December 8, 2019 making such a significant contribution to the canon. Finally, at its very essence, theatre is the artist and their the solitudes In considering Nightwood’s place on the Canadian theatre landscape audience. This beautiful act January 7 – 18, 2020 we must remember the shoulders we stand on and the path that has of storytelling, as we sit in been carved by so many before us: from our founders Cynthia Grant, Kim communion with one another, all the little animals Renders, Mary Vingoe and Maureen White who launched the dream, to is the most vital relationship we Kate Lushington who succeeded as the Artistic Director in the late eighties can uphold and we must protect i have eaten and made it her mission to create more inclusion on our stages with the it, for it represents our most March 24 – April 12, 2020 likes of Djanet Sears and Monique Mojica seeing some of their earliest basic human need: Connection.
    [Show full text]
  • Mary Vingoe Opening Words
    Mary Vingoe Opening Words Celebrated director, actor, and playwright Mary Vingoe was one of two keynote speakers at the Shifting Tides: Atlantic Canadian Theatre Yesterday, Today, and Tomorrow conference. The following is a revised version of her opening presentation. hen I was asked to speak here today, I asked my friend Sarah WStanley what I should talk about at this conference. Sarah is myArtisticAssociate at Magnetic North Theatre Festival and she is a director whom I like and respect. She has worked with Live Bait in New Brunswick and Artistic Fraud in Newfoundland and she’s a friend of Jest in Time. “Oh God,”she said,“there’s so much wit, and depth, and despair, and poetry, and colour, and….” “And you can’t make a living there,”I said,“period.” “No,”she said,“that part is pretty hard.” This seemed like as good a place as any to start. I first ‘left’ Nova Scotia in 1976, in the time-honoured tradi- tion of all Dalhousie theatre graduates, to come to Toronto where I had a scholarship to do graduate work at the University of Toronto. But of course, I wasn’t all that interested in doing graduate work. What I really wanted was to get to Toronto where things were happening, where Factory Theatre Lab (as it was known then), Theatre Passe Muraille, and Tarragon were all in their glorious first decade of existence. I didn’t want to be studying Canadian theatre history—I wanted to be making it. Unbeknownst to ourselves in those first Toronto years, we were actually making it.
    [Show full text]
  • Canadian Women Director's Catalogue
    The Canadian Women Director’s Catalogue A COMPREHENSIVE LIST OF WOMEN DIRECTING IN CANADA Copyright © 2011 Nightwood Theatre and the Professional Association of Canadian Theatres. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, without written permission from the publishers. ISBN – 10: 0-921129-46-7 ISBN – 13: 978-0-921129-46-2 Nightwood Theatre 55 Mill Street, Suite 301 Case Goods Warehouse, Bldg. No. 74 Toronto ON Canada M5A 3C4 Professional Association of Canadian Theatres (PACT) 215 Spadina Ave, Suite 555 Toronto, ON M5T 2C7 Photo of Maggie Huculak, Gemma James-Smith, Dylan Smith, Sarah Dodd and Clare Coulter by Guntar Kravis Welcome I am so pleased to present to you with The Canadian Women Director’s Catalogue. In 2002, I co-spearheaded Equity in Canadian Theatre: the Women’s Initiative to examine the status of women in Canadian theatre. Over the last ten years Nightwood Theatre has partnered with the Playwrights Guild of Canada and the Professional Association of Canadian Theatres to continue research and advocacy for our country’s female practitioners. One of a number of disconcerting fi ndings, revealed the lack of female Artistic Directors at the country’s larger theatres. Yet another fi nding showed that those women who were Artistic Directors had better track records of hiring female playwrights and directors in their theatres. The solution seemed obvious: promote more women into AD positions across the country. But the monkey wrench, as I saw it, was that unless women had the opportunity to direct on the bigger stages they would never be considered “eligible” when those jobs came up.
    [Show full text]
  • Women's Caucus AD Interviews September 2011 – February 2016
    Women’s Caucus AD Interviews September 2011 – February 2016 Arranged by date most recent to oldest Kim Blackwell, 4th Line Theatre……………………………………………………………………2 Anthony Black and Christian Barry, 2b Theatre……………………………………………3 Jacqueline Russell, Urban Curvs Theatre……………………………………………………...9 Clayton Jevne, Theatre Inconnu………………………………………………………………….11 Quincy Armorer, Black Theatre Workshop………………………………………………...18 Micheline Chevrier, Imago Theatre ……………………………………………………………20 Eric Coates, Great Canadian Theatre Company ………………………………………….28 Ken Gass, Canadian Rep Theatre………………………………………………………………..30 Michael Shamata & Erin Macklem, Belfry …………………………………………………..32 Del Surjik, Persephone……………………………………………………………………………….40 Loretta Seto, Lynna Goldhar-Smith, Susinn McFarlen, Wet Ink Collective…..44 Ruth Lawrence, Women’s Work Festival ……………………………………………………47 Kelly Thornton, Nightwood………………………………………………………………….……..50 Jillian Keiley, National Arts Centre …………………………………………………………….54 Robert Metcalfe, Prairie Theatre Exchange ……………………………………………….58 Roy Surette, Centaur Theatre …………………………………………………………….………61 Rachel Ditor, Arts Club……………………………………………………………………….………63 Ruth Smillie, Globe Theatre ……………………………………………………………….………67 Andy McKim, Theatre Passe Muraille…………………………………………………………71 Vanessa Porteous, Alberta Theatre Projects ………………………………………………75 Tessa Mendel, Halifax Theatre for Young People …………………………………..…..79 Michael Shamata, Belfry …………………………………………………………………………....81 Bradley Moss, Theatre Network…………………………………………………………………84 Eric Coates, Blyth Festival ………………………………………………………………………….86
    [Show full text]
  • EDWARD II Monarch
    EDWARD II monarch. prisoner. corpse. by Christopher Marlowe Directed by Guest Artist Mary Vingoe September 29—October 15, 2016 The Chan Centre for Performing Arts NOTE FROM NOTE FROM DEPARTMENT HEAD DIRECTOR STEPHEN HEATLEY, MARY VINGOE DEPARTMENT OF THEATRE AND FILM Part of my summer reading plan this year was tucking into Theatre of the Edward II tells the story of a man who loved not wisely but too well. Unimpressed, the provocative book by Canadian theatre wunderkind, Jordan The play, the complete title of which is The troublesome raigne and Tannahill. In it, Tannahill challenges us emphatically as theatre makers to focus on lamentable death of Edward the second, King of England: with the tragical fall of the live-ness of the theatre event, the aspects of it which cannot be replicated in proud Mortimer is likely Marlowe’s penultimate work, written a year before his recorded forms, the aspects of the theatre that encourage us to be in some kind death from injuries sustained in a bar room brawl in 1593. of real relationship with each other in real time. Marlowe was a shoemaker’s son who attended Cambridge on a scholarship with In this spirit, I am so pleased to welcome you to our 2016/17 Theatre season here the goal of taking holy orders. Sons of commoners were admitted for the first time at UBC which promises to be a celebration of “live-ness” beginning with our into universities as Queen Elizabeth’s new Protestant England needed clergy. return, after a two and a half year hiatus, to our most theatrical of performance venues, the Telus Studio Theatre.
    [Show full text]
  • The Glace Bay Miners' Museum
    Wendy Lill' s The Glace Bay Miners' Museum ,,,,;,._,< '�;;;, , ,,,,,/9 #·f.,�, •••· ..) V . -,,···• · '.''•,❖, ;:-,, /'; ' ,4 :,Ai.,,. >: \ . ;t: .t . .f : ;. - :! / ·f -·::. \, {/. ::;: ,_,,-,. ·-"-'i: . ·.,., .. ,.,.: .., .:.;.::'." ---:\::::·-· -.-:·• .,-.::- November 17 - 27, 1999 December 1 - 19, 1999 The Wingfield Series by Dan Needles Starring Rod Beattie Directed by Douglas Beattie Actor Rod Beattie returns with these 4 Canadian comedy hits, all performed in rep. A master storyteller, Beattie will amaze you with these delightful stories of Walt Wingfield and the good folk of Persephone Township. See one, see them all; each comedy stands on its own. supported by Pacific Business Equipment Ltd. � Fl RSTISIAND ....... Belfry Theatre A great place to see great theatre 1291 Gladstone at Fernwood www.belfry.bc.ca The Glace Bay Miners· Museum Director's Notes Playwright (and Member of Parliament) Wendy Lill describes The Glace Bay Miners' Museum as a memory play. While researching the "world" of the play I had the extraordinary experience of travelling to Glace Bay, Nova Scotia and subsequently exploring other parts of Cape Breton. In the midst of my look at the region and the mining industry I took some time to delve into my own family history. I discovered that my maternal grandparents had both been born not far from the setting of this wonderful play. I also realized that Margaret in the play, like my Nova Scotia born mother, was born in 1926. Sheldon Currie's novel and Wendy Lill's play took on deep personal resonances for me. In the play, the character of Neil says: "Unless you know your history and your music, you don't know that the way things are is not necessarily the way things have to be." At the center of this production is a wonderful company of actors comprised of two first year acting students, a third year student, a graduate student, and a mature student - all enrolled in the Department of Theatre.
    [Show full text]
  • Annual Report July 1St 2016 to June 30Th 2017
    Angels and Heroes LunaSea Theatre Two Planks and a Passion Chester Playhouse Ship’s Company Theatre Terra Novella Theatre Mermaid Theatre Highland Arts Theatre Halifax Theatre for Mulgrave Road Young People Annual Report July 1st 2016 to June 30th 2017 Rolling Bold Productions DMV Theatre The Villain’s Theatre 1 2016-17 Board of Directors Elizabeth Murphy, Chair Ryan Van Horne, Vice Chair Bruce Klinger, Treasurer Natasha MacLellan, Secretary Amal Bhattacharyya Dan Bray Andrew Chandler Audrey Eastwood Todd Hiscock Alex Mills Lori Peddle Samantha Wilson Table of Contents Agenda 1 Minutes of Previous Year’s AGM 2 Chairperson’s Report 5 PERFORM! Coordinator’s Report 6 Merritt Awards Producer’s Report 12 Executive Director’s Report 14 Financial Statements 22 3 Theatre Nova Scotia Annual General Meeting Nov 6, 2017, 6 PM Agenda 1. Call to order 2. Approval of agenda 3. Approval of previous minutes – Oct 3, 2016 4. Chairperson’s Report 5. Staff reports PERFORM! Coordinator’s report Merritt Producer’s report Executive Director’s report 6. Treasurer’s Report Approval of 2016-17 audited statements Appointment of auditor for 2017-18 7. Election of slate of directors 8. Other business 9. Adjournment 1 THEATRE NOVA SCOTIA ANNUAL GENERAL MEETING Oct. 3, 2016 MINUTES 1. Meeting was called to order at 6:17 PM by Elizabeth Murphcy, Chairperson. Attendance on file. 2. Approval of Agenda as circulated: MOTION TO PASS THE AGENDA: M/S/C –Jeremy Webb / Jeff Schwager Motion carried 3. Approval of previous minutes—Oct 5, 2015 MOTION TO APPROVE PREVIOUS MINUTES: M/S/C –Jeff Schwager / Jeremy Webb Motion carried 4.
    [Show full text]
  • Ppdpanel Program
    Polyamorous Play Development Panel Theatre, at its core, is a collaborative endeavor. Why do we insist that creating new work be such a solitary act? Can we imagine a new system where theatre companies collaborate and combine their strengths, where we overcome regional isolation and self-imposed silos? Join leaders of Canadian Theatre for a frank and funny discussion about getting into bed with many partners. We’ll chat about rolling premieres, national and international collaborations and how to ignite a theatre revolution! Host: Kelly Thornton Panelists: Brenda Leadlay, Jillian Keiley, Mary Vingoe, Nina Lee Aquino Brenda Leadlay has been involved in theatre for the last 30 years; she has been as an actor, director, co-creator, dramaturge, movement teacher and artistic producer. She is currently the AD of the Magnetic North Theatre Festival and before that, the AD of Presentation House Theatre in North Vancouver. Previous to that, she has been Artistic Director of the Norman Rothstein Theatre where she founded the Chutzpah Festival, as well as Tamahnous Theatre from 1993 to 1996 and has been nominated 3 times for Jessie Richardson awards for her work as a director and co- creator. Recent directing credits at Presentation House Theatre include: 9 Parts of Desire and The Edward Curtis Project. Over the course of her career, Brenda has been a co-creator on four new plays including Paper Wheat, Coming Apart, Raw Materials and Wet Dreams. Jillian Keiley is the Artistic Director of Artistic Fraud of Newfoundland. Selected touring productions include TNL's Tempting Providence and Stars in the Sky Morning, Artistic Fraud's Afterimage, Fear of Flight, Emile's Dream, Under Wraps and Oil and Water; Sheila's Brush's Jack Five Oh! and Shallaway's Ann and Seamus.
    [Show full text]
  • Re-Viewing Reception: Criticism of Feminist Theatre in Montreal and Toronto, 1976 to Present
    Re-viewing Reception: Criticism of Feminist Theatre in Montreal and Toronto, 1976 to Present by Laura Michelle MacArthur A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Drama, Theatre and Performance Studies University of Toronto © Copyright by Laura Michelle MacArthur 2014 Re-viewing Reception: Criticism of Feminist Theatre in Montreal and Toronto, 1976 to Present Laura Michelle MacArthur Doctor of Philosophy Centre for Drama, Theatre and Performance Studies University of Toronto 2014 Abstract While the power dynamics between theatre critics and artists are inevitably imbalanced, as the written word reaches a wider audience and lives much longer than does performance, for feminist artists, the stakes in this relationship are heightened due to the disjunction in identity and ideology that often separates them from mainstream reviewers. This study exposes the gendered nature of theatre criticism, examining the dialogue about feminist theatre in which critics, audiences, and artists are engaged, and identifying its consequences beyond the box office. Case studies are drawn from Nightwood Theatre (1979-present) in Toronto and the Théâtre Expérimental des Femmes (TEF) (1979-1987) in Montreal as well as the work of the TEF’s co-founder Pol Pelletier before 1979 and after 1987 in order to examine key issues in the critical reception of feminist theatre in Canada, including: censorship, the relationship between art and politics, translation, and how artists speak back to their critics. This dissertation argues that the standards employed by mainstream reviewers, while most often not intentionally discriminatory against women, run counter to the central qualities of much feminist theatre.
    [Show full text]
  • UNIVERSITY G;'QUELPH
    UNIVERSITY g;'QUELPH Volume 32 Number 6 February 10, 1988 The country's first master of agriculture graduates have something to cheer about besides graduation - they all have jobs. Seated1 left to right: Linda Frew, Cathie Lowry, Sue li'owle and Kathy Merriman. Standing, left to right: Ron Gulka1 Scott Gray, David Stauffer, Ralf Dietert, Jim Sanderson, Ian Cowbrough and Pierre-Yves Gasser. (See story, page 1.) Herb Rauscher. Photogra phic Services Inside: CUP grapples with heavy agenda . 2 Bakker defends presenee in Indonesia . 4 J.M. SChneider - a good neighbor . 3 :r AL scores with students & funding . 8 PRI enters community relations . 3 ---At UNIVERSITYgr-GUELPH Guety'Tllh'"' t First M.Ag. degrees awarded C anada's rirsl master of agri culture (M.Ag.) degrees were awarded by the University during winter convocation ceremonies Feb. 5. The De partment o f Agric ultural Economics and Business instituted the unique program two years ago to answer the industry's need for prospective management employees with a greater appreciation for business problems and issues in the agriculture and food system, says department chair Larry Martin. The degree is like a master of business administration degree, except that it is totally oriented towards agriculture, de- signed to integrate intensive managemenl skills with practical technical expertise, Martin says. The ·program has been applauded by other educational institutions, and by the agribusiness industry, which has employed all the inaugural class. The program's first graduates are: Ian Cowbrough of Guelph, a management Dr. Michael Smith signs the register, Dr. Harry Rubin, hooded by University gratulated by Chancellor William Stewart.
    [Show full text]
  • Canadian Feminist Women Directors: Using the Canon for Social Change
    CANADIAN FEMINIST WOMEN DIRECTORS: USING THE CANON FOR SOCIAL CHANGE by SARAH ALEXANDRA FERGUSON B.A. (Honours), The University of British Columbia, 1997 M.F.A., The University of Calgary, 1999 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Theatre) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) March 2008 © Sarah Alexandra Ferguson, 2008 Abstract This thesis explores how five Canadian women directors who define themselves as feminists have engaged with work from the traditional Western theatre canon. However, that world actually is created by the social expectations, cultural mores, and theatrical conventions of its time. Audiences have been indoctrinated to accept unquestioningly the value of these texts while the plays’ valorized status masks social constructs that are continually reinforced and surreptitiously naturalized through their repetition. At the crux of this thesis is the notion that while repetition is used as a tool for social instruction, it can also be used as a tool for social change. Therefore, I explore how the Canadian feminist women directors whom I have interviewed use the uniqueness of performance in different ways to challenge social structures within canonical texts. In the individual chapters, each director first shares her education, training, experience, and influences; then she articulates her own feminist perspective and discusses its impact on her career and work process; and finally she reflects on how she directed a text from the Western theatre canon and used the liminal space of performance to challenge the text’s embedded gender constructs. At the end of each chapter, I present the critical response I found for each production, including reviews, individual statements, and academic investigations, and assess the extent to which the director’s intent was understood by her audience and reviewers.
    [Show full text]
  • Nightwood Theatre Canadian Plays Series Editor: Anne Nothof
    Nightwood Theatre Canadian Plays Series Editor: Anne Nothof The Canadian Plays series features a broad range of new Canadian plays with an emphasis on Alberta works and theatre professionals. Publications will include single full-length plays and thematic collections by single or multiple playwrights, as well as theatre history and criticism. The target audience comprises theatre lovers, actors and playwrights, directors and producers, teachers, students, and librarians. Series Titles Hot Thespian Action: Ten Premiere Plays from Walterdale Playhouse Edited by Robin C. Whittaker Nightwood Theatre: A Woman’s Work Is Always Done by Shelley Scott Nightwood Theatre A Woman’s Work Is Always Done Shelley Scott, Ph.D. © 2010 Shelley Scott Published by AU Press, Athabasca University 1200, 10011–109 Street Edmonton, ab t5j 3s8 Library and Archives Canada Cataloguing in Publication Scott, Shelley Nightwood Theatre : a woman’s work is always done / Shelley Scott. (Canadian plays series, issn 1917-5086) Includes bibliographical references and index. Issued also in electronic format (978-1-897425-56-5). isbn 978-1-897425-55-8 1. Nightwood Theatre--History. 2. Feminist theater--Canada--History. 3. Women in the theater--Canada--History. 4. Feminism and theater-- Canada--History. I. Title. II. Series: Canadian plays series ps8169.f45s36 2010 792.09713’541 c2009-907004-9 Cover design by Honey Mae Caffin, intertextual.ca Book design by Natalie Olsen. Printed and bound in Canada by Marquis Book Printing. This project was funded in part by the Alberta Foundation for the Arts. This publication is licensed under a Creative Commons License, Attribution-Noncommercial-No Derivative Works 2.5 Canada, see www.creativecommons.org.
    [Show full text]