DOCSLIB.ORG

Lnformanon to USERS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lnformanon to USERS lNFORMAnON TO USERS This manumpt has been mprioduœd from the microfilm master. UMI films the text dire* fmm the original or copy submitted. Thus, some thesis and dissertation copies am in tyQewriter face, while others may be from any type of cornputer pnnter- The quaiï of mis nproduction b dependent upon the qurlity of th. copy submitted. Broken ar indistinct print, coiomâ or poor quaiii illusaations and photagrsphs, print Meedthwh, substandsid margLN, and impmper al@nnient can adversely affect reprodudiori. In the unlikely everrt îhat the authar di not senâ UMI a cornQiet~manuscript and there are rnissing pages, these wïll be mted. Also, if unauthoraed copyright material had to be removed, a note will indicate the deletion. Overske materials (e-g.. maps, drawings, &arts) are reprioduœd by sectiming the original, beginning at the upper Wthand comef and continuing fFMn left îo right in equal sections wilh small overiâps. Photographs inciuded in the original manusui@ have bem reproduœd xerographically in this copy. Higher quality 6' x W Mack and white photographie ptints are availaMe fw any photographs or illustrations appearing in this copy for an additional charge, Contact UMI directly to order. WI & HdlInformation and Leaming 300 North Zeeb Road, Ann Arbor, MI 481B1348 USA MINORITY LANGUAGES AS ESISTAXCE IN MARCO MICONE'S -+DOCURATA, BEïTY QUAN'S MOïEER TONGLE,AND GUELERMO VERDECCHIA'S FRONTEMSAMERlCNRT (mCAVBORDERT) A Thesis Presented to The FacuIty of Graduate Studies of The University of GueIp h in partial fulfillment of requirements for the degree of Master of Arts Augusr, 1999 National Library Biblhthèque nationale 1+1 ,canada du Canada Acquisitions and Acquisitions et Bibliographie SeMces services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON K1A ûN4 O(tawaON KIAW Canada Canada The author has granted a non- L'auteur a accorde une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse- thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation, MINORïïY LANGUAGES AS RESISTANCE IN MARCO MICONE'S ADDOLORATA, BElTY QUAN'S MOTNER TONGUE AND GUXLLJBMO VERDECCHIA'S FRONTERAS AhEiWCANAS (AMERTCAN BORDERS) Julie Byczynski Advisor: University of Guelph, 1999 Professor Ric Knowles This thesis is an investigation of the use of uatranslated minority languages (that is, the presence of "foreign" words or phrases in the dialogue of plays written in Canada's 'official languages") as resistance to dominant discourses in three Canadian plays emerging £tom immigrant or ethnic cultures. Marco Micone's AdZolarata (in its original French and in its English translation), Betty Quan's Mother Tongue, and Guillermo VerdecchiarsFronteras Americanm represent varying degrees and types of resistance. The thesis draws on pst-colonial theorists and on such writers as Mikhail Bakhtin, Michel de Certeau, Baz Kershaw, and Homi Bhabha to explore the often ambivalent linguistic power relationships among French, English, Italian, Cantonese, Amencan Sign Language, and Spanish Ianguages and cultures in English Canada and Quebec. Acknowledgements 1 would like to thank my fadyand niends for their continuing encouragement- especiaily Angus. 1wodd also iÏke to acknowledge the support of my feiiow graduate students and so many of the facuity and staff at the University of Guelph, particularly François Paré and Doma Palmateer Pennee. 1thank Ric Knowles for the the and thought that he has invested in me and in this thesis. My appreciation also goes to Betty Qum for granting permission to quote fkom ber correspondence with me. Lastiy, this thesis is dedicated to my aunt, Pat Bethune, who continues to inspire me with her infectious laugh, her endless strength, and her cornmitment to her career, family, and many friends- Tabie of Contents Introduction 1 Chapter One: Marco Micone's AddoIorata 23 Chapter Two: Betty Quan's Mother Tongue 44 Chapter Three: Guillermo Verdecchia's Fronteras Americmurs 64 Conclusion 83 Works Cited 92 Marco Micone's Addolorata, Betty Quan's Mother Tongue, and Guillermo Verdecchia's Fronteras Americunas (Amen'can Borders) share common ground in their portrayal of immigrant expenences, albeit contrasting ones. The plays' Nerences in subject matter, dramatic style, and writing technique do not preclude the prevaiIing tendency of the plays' use of minonty languagesLto function in ways that resist the hegemony of dominant languages and therefore destabilize the dominant cultures for which they speak. Although it might be tempting to cdthe technique of unstrans1ated2 minority language in the theatre a sure sign of resistance against, at the very Ieast, the dominant iinguistic culture surroundhg the minority one, the iines between "us" and "them" ("ethnie" and "non-ethnic"), as the foilowing analysis of these plays wdl explore, are not as clear as such an assumption suggests. Indeed, this thesis will investigate the ways in which the practices of dominance and resistance to that dominance through the use of minority languages are ambivalent and fragmented in Addolorata, Mother Tongue, and Fronteras Americanas. These three plays tell storïes of an intensely intimate nature: Addolorata, the story 1 By "minority" languages 1refer to Ianguages other than the dominant one of the given locale of the first production, Since Micone's Addotorara was first performed in a French speaking environment, the rninority ianguages in this play are English, Italian, and Spanish, but it is also important to keep in mind that English plays a larger role in Quebec; it is, in fact, the language of the cultures against whkh Québécois nationalism is aligneci, On the other hand, Verdecchia's Fronteras Americanas was first performed in English speaking Toronto, so the minority languages in this play are Spanish and French- In Quan's Mother Tongue,the rninority Ianguages are American Sign Language and Cantonese. '1 use the term "untranslated" with caution here because to suggest that a given piece of dialogue is untranslated is to assume that a translation is required; i.e. that a spectatorfreader is not familiar with the language in question. For the sake of clarity, 1will use the word 'iintranslated" to refer to dialogue that is scrïpted as a minority language, as defined in note 1. of a failed marriage; Mother Tungue, the story of a family confiïct; and Fronteras Americunas, the story of an individuai's stniggie for identity- It is through this glimpse into the pnvate that these plays present political messages that concem the socio- economic status of hm@ants, the loss of cultural heritage, and the fight against ethnic stereotypes and racism. Aithough Micone, Qum, and Verdecchia bring spectators and readers3 into the very private world of their characters, their plays can be read as political, and their use of minority Ianguages cmbe read as resistant to what Baz Kershaw casthe "status quo" or ccmutuaiiyreinforcing" dominant ideologies as 1WU discuss in detail in the following chapters (20). 1 have chosen Addolurata, Mother Tungue, and Fronteras Amencanas because they openly deal with issues of Canadian immigrant experience and use untranslated so- called "foreign" or "other" languages. 1have decided not to include in my study a play by a First Nations playwright such as Tornson Highway for one main reason. Aithough Highway uses native languages in a simiiar fasbion to Micone, Quan, or Verdecchia, his plays do not reflect the experience of new Canadians, people who have corne to Canada from someplace else. 1feel that by limiting the scope of my thesis to plays that involve immigrant experiences, the cultural specificities, although still quite variable between Italo-Queôécois, Chinese Canadian, and Argenthian Canadian communities, are more manageable in the course of this project The plays that 1 have selected were chosen for the obvious reason that they all represent immigrant experience and use untranslated minority languages, but also for 1wi11 mostly explore plays as performances, but consideration will be made of the plays as published te- when such consideration is usefil. several other reasons. First, they were produced within a short tirne span (1982-1995): and they therefore are representaeive of a paaicular thehe. Second, the settings of these piays represent contrasting regions within Canada and the three most common destinations of immigrants (Montreai, Vancouver, and Toronto). Lastly, each of the plays demonstrates the at once different and similar ways in which theorking power and resistance is inherentiy problematic. The cultural specificity of each of these piays varies considerably, and corresponds to the perspective of the playwrights themseives. Marco Micone, who immigrated to Canada fiom Italy as a child, writes from wiihin the Italo-Queoécois community in Montreai. His position as a minority writer ciiffers significantly fiom other Italian Canadian (or other so-cailed "ethnie") writers because as a Quelbécois, he is already a part of a French Canadian cultural and linguistic minority- Betty Quan is fiom a younger generation and was educated at the University of British Columbia, Qum, as a Chinese Canadian fÏom Western Canada and as a woman, represents another perspective on immigrant play Wfiting. GuiUermo Verdecchia was bom in Argentina and raised in Waterloo, Ontario. His cnticaIiy successful plays corne out of the Toronto theatre scene, and more recently, out of Vancouver. As wZ be discussed later, many critics, including pst-colonial critics Ashcroft, Griffiths, and Tiffen, assert that the use of untranslated languages is a way to inscribe difference (53).
Load more

Recommended publications
  • 1967 to 2017 CANADA TRANSFORMED
    FALL / WINTER 2017 1967 to 2017 CANADA TRANSFORMED RANDY BOSWELL DOMINIQUE CLÉMENT VICTOR RABINOVITCH KEN MCGOOGAN NELSON WISEMAN JACK BUMSTED VERONICA STRONG-BOAG JEAN-PHILIPPE WARREN JACK JEDWAB TABLE OF CONTENTS 3 INTRODUCTION MILESTONES, LEGACIES AND A HALF-CENTURY OF CHANGE Randy Boswell 7 HOW CANADIAN BOOMERS SPIRITED THE SIXTIES INTO THE 21ST CENTURY Ken McGoogan 11 “SHE NAMED IT CANADA BECAUSE THAT’S WHAT IT WAS CALLED”: LANGUAGE AND JUSTICE IN CANADA 2017+ Veronica Strong-Boag 15 CANADA’S RIGHTS CULTURE: FIFTY YEARS LATER Dominique Clément 20 AN EVER-CHANGING FACE AND IDENTITY Nelson Wiseman 24 AN UNEXPECTED CANADA Jean-Philippe Warren 28 50 YEARS OF CANADIAN CULTURE: THE ROOTS OF OUR MODEL AND THE BIG, NEW THREAT Victor Rabinovitch 33 HAS THE COUNTRY REALLY CHANGED ALL THAT MUCH IN THE PAST 50 YEARS? Jack Bumsted 36 VIVE LE QUÉBEC LIBRE @ 50: THE RISE AND DECLINE OF QUÉBEC’S INDEPENDENCE MOVEMENT, 1967-2017 Jack Jedwab CANADIAN ISSUES IS PUBLISHED BY ASSOCIATION FOR CANADIAN STUDIES BOARD OF DIRECTORS Canadian Issues is a quarterly publication of the Association Elected November 3, 2017 for Canadian Studies (ACS). It is distributed free of charge to individual and institutional members of the ACS. Canadian CELINE COOPER Montréal, Québec, Chairperson of the Board of Directors, Issues is a bilingual publication. All material prepared by Columnist at the Montréal Gazette, PhD Candidate, the ACS is published in both French and English. All other OISE/University of Toronto articles are published in the language in which they are written. Opinions expressed in articles are those of the authors THE HONOURABLE HERBERT MARX and do not necessarily reflect the opinion of the ACS.
    [Show full text]
  • Internalizing Borderlands: the Performance of Borderlands Identity
    Internalizing Borderlands: the Performance of Borderlands Identity by Megan De Roover A Thesis presented to The University of Guelph In partial fulfilment of requirements for the degree of Master of Arts in English Guelph, Ontario, Canada © Megan De Roover, December, 2012 ABSTRACT Internalizing Borderlands: the Performance of Borderlands Identity Megan De Roover Advisor: University of Guelph, 2012 Professor Martha Nandorfy In order to establish a working understanding of borders, the critical conversation must be conscious of how the border is being used politically, theoretically, and socially. This thesis focuses on the border as forcibly ensuring the performance of identity as individuals, within the context of borderlands, become embodiments of the border, and their performance of identity is created by the influence of external borders that become internalized. The internalized border can be read both as infection, a problematic divide needing to be removed, as well as an opportunity for bridging, crossing that divide. I bring together Charles Bowden (Blue Desert), Monique Mojica (Princess Pocahontas and the Blue Spots), Leslie Marmon Silko (Ceremony, Almanac of the Dead), and Guillermo Verdecchia (Fronteras Americanas) in order to develop a comprehensive analysis of the border and border identity development. In these texts, individuals are forced to negotiate their sense of self according to pre-existing cultural and social expectations on either side of the border, performing identity according to how they want to be socially perceived. The result can often be read as a fragmentation of identity, a discrepancy between how the individual feels and how they are read. I examine how identity performance occurs within the context of the border, brought on by violence and exemplified through the division between the spirit world and the material world, the manipulation of costuming and uniforms, and the body.
    [Show full text]
  • Cahiers-Papers 53-1
    The Giller Prize (1994–2004) and Scotiabank Giller Prize (2005–2014): A Bibliography Andrew David Irvine* For the price of a meal in this town you can buy all the books. Eat at home and buy the books. Jack Rabinovitch1 Founded in 1994 by Jack Rabinovitch, the Giller Prize was established to honour Rabinovitch’s late wife, the journalist Doris Giller, who had died from cancer a year earlier.2 Since its inception, the prize has served to recognize excellence in Canadian English-language fiction, including both novels and short stories. Initially the award was endowed to provide an annual cash prize of $25,000.3 In 2005, the Giller Prize partnered with Scotiabank to create the Scotiabank Giller Prize. Under the new arrangement, the annual purse doubled in size to $50,000, with $40,000 going to the winner and $2,500 going to each of four additional finalists.4 Beginning in 2008, $50,000 was given to the winner and $5,000 * Andrew Irvine holds the position of Professor and Head of Economics, Philosophy and Political Science at the University of British Columbia, Okanagan. Errata may be sent to the author at [email protected]. 1 Quoted in Deborah Dundas, “Giller Prize shortlist ‘so good,’ it expands to six,” 6 October 2014, accessed 17 September 2015, www.thestar.com/entertainment/ books/2014/10/06/giller_prize_2014_shortlist_announced.html. 2 “The Giller Prize Story: An Oral History: Part One,” 8 October 2013, accessed 11 November 2014, www.quillandquire.com/awards/2013/10/08/the-giller- prize-story-an-oral-history-part-one; cf.
    [Show full text]
  • Susan Swan: Michael Crummey's Fictional Truth
    Susan Swan: Michael Crummey’s fictional truth $6.50 Vol. 27, No. 1 January/February 2019 DAVID M. MALONE A Bridge Too Far Why Canada has been reluctant to engage with China ALSO IN THIS ISSUE CAROL GOAR on solutions to homelessness MURRAY BREWSTER on the photographers of war PLUS Brian Stewart, Suanne Kelman & Judy Fong Bates Publications Mail Agreement #40032362. Return undeliverable Canadian addresses to LRC, Circulation Dept. PO Box 8, Station K, Toronto, ON M4P 2G1 New from University of Toronto Press “Illuminating and interesting, this collection is a much- needed contribution to the study of Canadian women in medicine today.” –Allyn Walsh McMaster University “Provides remarkable insight “Robyn Lee critiques prevailing “Emilia Nielsen impressively draws into how public policy is made, discourses to provide a thought- on, and enters in dialogue with, a contested, and evolves when there provoking and timely discussion wide range of recent scholarship are multiple layers of authority in a surrounding cultural politics.” addressing illness narratives and federation like Canada.” challenging mainstream breast – Rhonda M. Shaw cancer culture.” –Robert Schertzer Victoria University of Wellington University of Toronto Scarborough –Stella Bolaki University of Kent utorontopress.com Literary Review of Canada 340 King Street East, 2nd Floor Toronto, ON M5A 1K8 email: [email protected] Charitable number: 848431490RR0001 To donate, visit reviewcanada.ca/ support Vol. 27, No. 1 • January/February 2019 EDITORS-IN-CHIEF Murray Campbell (interim) Kyle Wyatt (incoming) [email protected] 3 The Tools of Engagement 21 Being on Fire ART DIRECTOR Kyle Wyatt, Incoming Editor-in-Chief A poem Rachel Tennenhouse Nicholas Bradley ASSISTANT EDITOR 4 Invisible Canadians Elaine Anselmi How can you live decades with someone 22 In the Company of War POETRY EDITOR and know nothing about him? Portraits from behind the lens of Moira MacDougall Finding Mr.
    [Show full text]
  • Fall 2019 Catalogue
    —Ordering Information— For more information, or for further promotional materials, please contact: Daniel Wells | Publisher Biblioasis Email: [email protected] 1686 Ottawa Street, Suite 100 Windsor, ON Casey Plett | Publicity N8Y 1R1 Canada Email: [email protected] Orders: Vanessa Stauffer |Sales & Marketing www.biblioasis.com [email protected] Email: [email protected] on twitter: @biblioasis Phone: 519-915-3930 Distribution: University of Toronto Press 5201 Dufferin Street, Toronto, ON, M3H 5T8 Toll-free phone: 800-565-9533 / Fax: 800-221-9985 email: [email protected] Sales Representation: Ampersand Inc. Head office/Ontario Evette Sintichakis Pavan Ranu Suite 213, 321 Carlaw Avenue Ext. 121 Phone: 604-448-7165 Toronto, ON, M4M 2S1 [email protected] [email protected] Phone: 416-703-0666 Toll-free: 866-736-5620 Jenny Enriquez Fax: 416-703-4745 Ext. 126 Vancouver Island Toll-free: 866-849-3819 [email protected] Dani Farmer www.ampersandinc.ca Phone: 04-4481768 [email protected] Saffron Beckwith British Columbia/Alberta/Yukon/Nunavut Ext. 124 2440 Viking Way [email protected] Richmond, BC V6V 1N2 Alberta, Manitoba & Saskatchewan/NWT Phone: 604-448-7111 Jessica Price Morgen Young Toll-free: 800-561-8583 604-448-7170 Ext. 128 Fax: 604-448-7118 [email protected] [email protected] Toll-free Fax: 888-323-7118 Laureen Cusack Ali Hewitt Quebec/Atlantic Provinces Ext. 120 Phone: 604-448-7166 Jenny Enriquez [email protected] [email protected] Phone: 416-703-0666 Ext. 126 Toll Free 866-736-5620 Vanessa Di Gregoro Dani Farmer Fax: 416-703-4745 Ext. 122 Phone: 604-448-7168 [email protected] [email protected] [email protected] Laura MacDonald Jessica Price Ext.
    [Show full text]
  • Chinatown Children During World War Two in the Jade Peony a Journal
    Chinatown Children during World War Two in The Jade Peony Zhen Liu Shandong University (China) [email protected] A Journal of Canadian Literary and Cultural Studies ISSN 2254-1179 VOL. 7 (2018) pp. 25-35 • ARTICLES 6ƮƛƦƢƭƭƞƝ $ƜƜƞƩƭƞƝ 29/05/2017 26/01/2018 .ƞƲưƨƫƝƬ Asian Canadian literature; Chinese Canadian literature; Canadian literature $ƛƬƭƫƚƜƭ In The Jade Peony (1995) Wayson Choy captured vividly the lives of three children growing up in Vancouver’s Chinatown during the 1930s and 1940s when the Depression and the Second World War constituted the social backdrop. In the article, I argue that the Chinatown residents exemplify WKHW\SHRIYXOQHUDELOLW\GH¿QHGE\-XGLWK%XWOHUDVXSDJDLQVWQHVVDQGHVSHFDLOO\WKHFKLOGUHQ LQWKHQRYHOVXIIHUIURPDJUHDWHUYXOQHUDELOLW\DVWKH\DUHFDXJKWXSLQWKHFURVV¿UHRIERWKVLGHV *URZLQJXSLQWZRFRQÀLFWLQJFXOWXUHVDQGUHVWULFWHGWRWKHOLPLQDOFXOWXUDODQGSK\VLFDOVSDFHWKH children are disorientated and confused as if stranded in no man’s land. More importantly, in their serious struggles, the children show great resilience and devise their own strategies, such as for ming alliance with others, to survive and gain more space in spite of the many restraints imposed on them. 5ƞƬƮƦƞƧ En The Jade Peony (1995) Wayson Choy captura vívidamente las vidas de tres niños que crecen en el Chinatown de Vancouver durante las décadas de 1930 y 1940, con la Gran Depresión y la Segunda Guerra Mundial como telón de fondo social. En el artículo, argumento que los residentes HQ&KLQDWRZQHMHPSOL¿FDQHOWLSRGHYXOQHUDELOLGDGGH¿QLGDSRU-XGLWK%XWOHUFRPR³XSDJDLQVW ness”(2) y especialmente, que los niños en la novela sufren una gran vulnerabilidad al estar atra pados en medio del fuego cruzado mantenido por ambos sectores. Ya que crecen en dos culturas HQFRQÀLFWR\UHVWULQJLGDVDOHVSDFLROLPLQDOFXOWXUDO\ItVLFRORVQLxRVHVWiQGHVRULHQWDGRV\FRQ fundidos como si hubieran sido abandonados en tierra de nadie.
    [Show full text]
  • THE I]NTVERSITY of MANITOBA COPYRIGHT PERMISSION Beyond
    THE I]NTVERSITY OF MANITOBA FACTJLTY OF GRADUATE STUDIES ¿súgJ COPYRIGHT PERMISSION Beyond Limits: Cultural Identity in Contemporary Canadian Fiction BY Alain Régnier A ThesislPracticum submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfillment of the requirement of the degree MASTER OFARTS Alain Régnier A 2007 Permission has been granted to the University of Manitoba Libraries to lend a copy of this thesis/practicum, to Library and Archives Canada (LAC) to lend a copy of this thesis/practicum, and to LAC's agent (UMlÆroQuest) to microfilm, sell copies and to publish an abstract of this thesis/practicum. This reproduction or copy of this thesis has been made available by authority of the copyright owner solely for the purpose of private study and research, and may only be reproduced and copied as permitted by copyright laws or with express written authorization from the copyright owner. Beyond Limits: Cultural Identity in Contemporary Canadian Fiction by Alain Régnier A Thesis Submitted to the Faculty of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of English University of Manitoba Winnipeg, Manitoba O July, 2007 Abstract This thesis deals with the fictional works All That Matters by Wayson Choy, Monkey Beach by Eden Robinson and L'immense fatigue des pierres by Régine Robin, and the manner in which the authors of these texts have approached the issue of cultural identity from their particular vanfage point in Canadian society. Drawing significantly on the thoughts of Homi K. Bhabha and Judith Butler, the study explores the problem of cultural liminality and hybridity, and how identities come to be formed under such conditions.
    [Show full text]
  • Diasporic Space in Wayson Choy's All That Matters1
    Postcolonial Text, Vol 6, No 3 (2011) “His Paper Family Knew Their Place”: Diasporic Space in Wayson Choy’s All That Matters1 Alena Chercover University of Victoria I. Arrested Bodies: Diasporic Matters on the West Coast On the morning of August 13, 2010, a cargo ship called the MV Sun Sea pulled into Esquimalt Harbour on the southern tip of Vancouver Island. The ship had left Thailand ninety days earlier, filled with 493 Sri Lankan Tamils seeking refuge in North America. However, its arrival on Canada’s west coast followed weeks of government and media rhetoric announcing the pending invasion of the Canadian border by terrorists and human smugglers (Burgmann). Canadian border guards met and quickly relayed the migrants to awaiting cells at various detention centres in the lower mainland, while government officials declared the detainment of Tamil migrants necessary for public safety until their papers could be fully analyzed (“Tamil Migrants”). Dominating media coverage, the “processing” of paper identities began to eclipse the incarcerated bodies of Tamil migrants and, two months after their arrival on Canadian shores, more than 450 of the refugee claimants remained in a state of indefinite detention. Contrary to celebratory discourses of diasporic mobility in which, as James Clifford writes in his seminal 1994 essay, “separate places become effectively a single community” (303), the movement of bodies across geopolitical borders and within hostland communities remains fraught in the current transnational moment. Bodies marked by race and gender, as well as those lacking the material means of migration, risk becoming entangled in the legislative, systemic, social, and ultimately concrete barriers inscribed by both the host nation and the diaspora itself: for some, diasporic mobility simultaneously (and paradoxically) begets diasporic bondage.
    [Show full text]
  • Guillermo Verdecchia Theatre Artist / Teacher 46 Carus Ave
    Guillermo Verdecchia Theatre Artist / Teacher 46 Carus Ave. Toronto, ON M6G 2A4 (416) 516 9574 [email protected] [email protected] Education M.A University of Guelph, School of English and Theatre Studies, August 2005 Thesis: Staging Memory, Constructing Canadian Latinidad (Supervisor: Ric Knowles) Recipient Governor-General's Gold Medal for Academic Achievement Ryerson Theatre School Acting Program 1980-82 Languages English, Spanish, French Theatre (selected) DIRECTING Two Birds, One Stone 2017 by Rimah Jabr and Natasha Greenblatt. Theatre Centre, Riser Project, Toronto The Thirst of Hearts 2015 by Thomas McKechnie Soulpepper, Theatre, Toronto The Art of Building a Bunker 2013 -15 by Adam Lazarus and Guillermo Verdecchia Summerworks Theatre Festival, Factory Theatre, Revolver Fest (Vancouver) Once Five Years Pass by Federico Garcia Lorca. National Theatre School. Montreal 2012 Ali and Ali: The Deportation Hearings 2010 by Marcus Youssef, Guillermo Verdecchia, and Camyar Chai Vancouver East Cultural Centre, Factory Theatre Toronto Guillermo Verdecchia 2 A Taste of Empire 2010 by Jovanni Sy, Cahoots Theatre Rice Boy 2009 by Sunil Kuruvilla, Stratford Festival, Stratford. The Five Vengeances 2006 by Jovanni Sy, Humber College, Toronto. The Caucasian Chalk Circle 2006 by Bertolt Brecht, Ryerson Theatre School, Toronto. Romeo and Juliet 2004 by William Shakespeare, Lorraine Kimsa Theatre for Young People, Toronto. The Adventures of Ali & Ali and the aXes of Evil 2003-07 by Youssef, Verdecchia, and Chai. Vancouver, Toronto, Montreal, Edmonton, Victoria, Seattle. Cahoots Theatre Projects 1999 – 2004 ARTISTIC DIRECTOR. Responsible for artistic planning and activities for company dedicated to development and production of new plays representative of Canada's cultural diversity.
    [Show full text]
  • Senate Tuesday, June 21,2005 18:30 Room 1714 Lifetime Learning Centre OVC
    University of Guelph Senate Tuesday, June 21,2005 18:30 Room 1714 Lifetime Learning Centre OVC AGENDA APPROVAL OF AGENDA REMARKS FROM THE CHAIR READING AND DISPOSING OF MINUTES OF THE SENATE MEETING OF May 17,2005. IV BUSINESS ARISING FROM THE MINUTES v READING OF ENQUIRIES AND COMMUNICATIONS VI QUESTION PERIOD VII CAUCUS REPORT VIII REPORTS OF STANDING BOARDS AND COMMITTEES 1. EXECUTIVE COMMITTEE page 11 For Information: Graduation Statistics BYLAWS & MEMBERSHIP COMMITTEE page 15 For Action: Awards Committee Bylaw Amendment BOARD OF UNDERGRADUATE STUDIES page 21 For Action: (a) Bachelor of Bio-Resource Management - Proposal for a Major in Environmental Management (b) Bachelor of Arts - Economics - Deletion of Applied Economics Major (c) Bachelor of Science in Engineering - Changes to Admission Requirements (d) Bachelor of Applied Science, University of Guelph-Humber - Changes to Admission Requirements (e) Academic Schedule of Dates, 2006-2007 For Information: (0 Course, Additions, Deletions and Changes (g) Editorial Calendar Amendments (i) Grade Reassessment (ii) Readmission - Credit for Courses Taken During Rustication 4. BOARD OF GRADUATE STUDIES page 9 1 For Action: (a) Proposal for a Master of Fine Art in Creative Writing (b) Proposal for a Master of Arts in French Studies For Information: (c) Graduate Faculty Appointments (d) Course Additions, Deletions and Changes 5. COMMITTEE ON AWARDS page 177 For Information: (a) Awards Approved June 2004 - May 2005 (b) Winegard, Forster and Governor General Medal Winners 6. COMMITTEE ON UNIVERSITY PLANNING page 181 For Action: Change of Name for Department of Human Biology and Nutritional Science IX COU RE,PORT X OTHER BUSINESS XI ADJOURNMENT Please note: The Senate Executive will meet at 18:15 in Room 1713 Lifetime Learning Centre OVC just prior to Senate 1r;ne Birrell, Secretary of Senate University of Guelph Senate Tuesday, June 21": 2005 REPORT FROM THE SENATE EXECUTIVE COMMITTEE Chair: Al Sullivan <[email protected]~ For Information: Graduation Statistics - June 2005 Membership: A.
    [Show full text]
  • The Black Drum Deaf Culture Centre Adam Pottle
    THE BLACK DRUM DEAF CULTURE CENTRE ADAM POTTLE ApproximatE Running time: 1 HouR 30 minutEs INcLudes interviews before the performancE and During intermissIoN. A NOTE FROM JOANNE CRIPPS A NOTE FROM MIRA ZUCKERMANN With our focus on oppression, we forget First of all, I would like to thank the DEAF to celebrate Deaf Life. We celebrate Deaf CULTURE CENTRE for bringing me on as Life through sign language, culture and Director of The Black Drum, thereby giving arts. The Black Drum is a full exploration me the opportunity to work with a new and and celebration of our Deaf Canadian exciting international project. The project experience through our unique artistic is a completely new way of approaching practices finally brought together into one musical theatre, and it made me wonder exceptional large scale signed musical. - what do Deaf people define as music? All Almost never do we see Deaf productions Deaf people have music within them, but it that are Deaf led for a fully Deaf authentic is not based on sound. It is based on sight, innovative artistic experience in Canada. and more importantly, sign language. As We can celebrate sign language and Deaf we say - “my hands are my language, my generated arts by Deaf performers for all eyes are my ears”. I gladly accepted the audiences to enjoy together. We hope you invitation to come to Toronto, embarking have a fascinating adventure that you will on an exciting and challenging project that not easily forget and that sets the stage for I hope you all enjoy! more Deaf-led productions.
    [Show full text]
  • Manor Park Chronicle Jan 2019
    The voice of the community for 70 years • January 2019 • Vol. 70, No. 3 Arundel Ave., fall 1947: A sea of mud and construction in Manor Park Village. Photo: Newton (Ottawa Journal) Getting to Manor Park: A city bus plows through the mud of St. Laurent Blvd. Photo: Archives, City of Ottawa A Publishing Milestone: 70 years and counting! January 1949 – January 2019 By Sharleen Tattersfield steadily expanding ‘village’, can lend a helping hand in spaced, frame houses that were sion to use the garage Manor Park was a community making Manor Park one vulnerable to the spread of fire: portion of the tempo- This January 2019 issue of of homes still under construc- of the finest villages in our “Three brigades were or- rary school [in General the Manor Park Chronicle tion; muddy, unpaved roads; country.” ganized consisting of ten Mann’s stables, where St. marks the 70th publishing an- no sidewalks, street signs or men each. All individuals Columba Church is today) niversary of our community lights; no mail or bus service, The first page of the Janu- approached were will- as a fire hall. The Manor newspaper. The first issue, and a temporary school. ary 1949 Chronicle featured a ing to assume responsi- Park Ratepayers Associa- Volume 1, # 1 (a news sheet) report by the executive of the bilities. Representatives tion Executive is provid- was produced in January The inaugural issue Manor Park Ratepayers Asso- of the Committee met ing financial assistance.” 1949 and “edited by J. Wil- That inaugural issue was a ciation on much-needed com- with the Gloucester Twp.
    [Show full text]