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Nonprofessionalized Theatre in Canada's Professional

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Nonprofessionalized Theatre in Canada's Professional Un/Disciplined Performance: Nonprofessionalized Theatre in Canada’s Professional Era by Robin Charles Whittaker A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Centre for Study of Drama University of Toronto © Copyright Robin Charles Whittaker 2010 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-97257-1 Our file Notre référence ISBN: 978-0-494-97257-1 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformément à la loi canadienne sur la Privacy Act some supporting forms protection de la vie privée, quelques may have been removed from this formulaires secondaires ont été enlevés de thesis. cette thèse. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. Un/Disciplined Performance: Nonprofessionalized Theatre in Canada’s Professional Era Robin Charles Whittaker Doctor of Philosophy Graduate Centre for Study of Drama University of Toronto 2010 Abstract The discourse of Western theatre practice is founded on, and maintained as, a legitimizing struggle between the terms “professional” and “amateur.” This study moves beyond the traditional signifiers of Canadian amateur theatre—the Little Theatre Movement, the Dominion Drama Festival and connotations of “inferior” and “dilettantish”—to examine two nonprofessionalized companies that have witnessed the professionalization of Anglo-Canadian theatre in order to argue for the relevance and vitality of contemporary “nonprofessionalized” theatre practices. By drawing from Pierre Bourdieu’s field theory and Michel Foucault’s discourse theory and theories of formations of disciplines, this study argues that theatre professions seek to discipline, delegitimize and exclude nonprofessionalizing practices in order to gain capital (economic, social and cultural) at the expense of the creative freedoms inherent in nonprofessionalized work. It also considers the ways in which theatre scholarship omits critical discussion of amateur practice and how the term “amateur” is co-opted as a clouded pejorative ii signifier and erased by the contested term “community” within theatre discourse (institutions, practices and the Canadian imaginary). Following a case study approach based on archival documents, the study provides the foundation for a social history of Alumnae Theatre Company (1918- ), beginning with its early years as part of the University of Toronto’s University College Alumnae Association, by examining the relationship between amateur theatre practice and campus philanthropy, followed by Alumnae’s impact on Toronto’s professionalizing theatre scene in the context of alterity in Canadian theatre discourse. It then examines Walterdale Theatre Associates’ (1958- ) relationship to the emerging theatre profession before and after the opening of Edmonton’s Citadel Theatre in 1965 to argue that Walterdale benefits the profession and its professionalizing artists while negotiating complex concerns over institutionalization. Their longevity is explained, in part, by the fact that both companies operate “as if” professional, yet outside of professionalized disciplinary regimes. iii Acknowledgements I am indebted to Bruce Barton, Alan Filewod and Heather Murray for their insight, guidance, careful reading and adroit judgment during the past five years. Anne Nothof’s detailed eye as external has provided an expanded perspective on my work going forward. This study has benefited from three Ontario Graduate Scholarships and a University of Toronto School of Graduate Studies Travel Grant; the latter allowed me to do archival research in Edmonton in June 2007. Of the seven conferences at which I have presented material from this study, partial travel funding was provided for five by ACSUS, Thompson Rivers University (a CURA grant), MANECCS/SACS and the Graduate Centre for Study of Drama (twice). Archival research is hardly the solitary business it is purported to be. Lance Dittrich and Kent Sutherland of Walterdale and Catherine Spence of Alumnae granted me open and convenient access to their respective holdings. The staff at the Provincial Archives of Alberta, and Harold Averill and Loryl MacDonald at the University of Toronto Archives, provided infinite assistance. Richard Rose kindly forwarded his unpublished adaptation of Tempest-Tost. Richard Plant, David Staines, Chris Eaket, Barry Freeman and James McKinnon (who first suggested we see a play at Walterdale in 1999) have framed my way of thinking about this work, as did the two anonymous readers of my Walterdale anthology (Athabasca UP 2008). I must thank Mr. Maslan, my grade eight teacher, for instilling in me a fearlessness of the over-forty-page paper. I am, as ever, grateful to my father Brian and my late mother Marlene for convincing me at a very young age that writing is vital. And to my wife Amy, who has seen the best and the worst of graduate education, I owe a readiness for the regime, an awareness of the pitfalls, a sense of the sensible and the ridiculous, and the meaning of love. iv Table of Contents Abbreviations......................................................................................................vi Introduction: Un/Disciplined Performance ...........................................................1 Part I: Discourse, Practice, Mythologies and the Field of Cultural Production...........................19 Chapter 1: Methodology.....................................................................................21 Chapter 2: “Non/Professionalized”: Framing the Divide.....................................45 Chapter 3: Discipline Issues: Three Familiar, Contested Terrains.......................63 Part II: Two Nonprofessionalized Theatres and the Field of Cultural Production.......................95 Chapter 4: “Intellectual Theatre”: Purpose and Programming at Toronto’s Alumnae Theatre Company..................97 Chapter 5: Professionalization and Its Discontents: Edmonton’s Walterdale Theatre Associates in the Professional Era..................160 Conclusions: Toward a Historiography of Nonprofessionalized Theatre...........229 Works Cited.....................................................................................................240 v Abbreviations Archive Locations ATCA Alumnae Theatre Company Archives (not indexed). Accessed Nov-Dec 2004, Feb 2009, July 2009. PAA Provincial Archives of Alberta. “Walterdale Theatre Associates.” Accessed June 2007. UTA University of Toronto Archives. Accessed July 2009. WEMM Walterdale Executive Meeting Minutes (at PAA and WPA). WPA Walterdale Playhouse Archives (not indexed). Accessed June 2006 and June 2007. Groups and Institutions AEA American Actors’ Equity Association (1913- ) ACTRA Association of Canadian Television and Radio Artists (1943- ) CAC Canadian Advisory Committee of AEA (1955-63) CAEA Canadian Actors’ Equity Association (1976- ) CEC Canadian Executive Committee of AEA (1963-76) DDF Dominion Drama Festival (1933-71) LOCT League of Canadian Theatres MTC Manitoba Theatre Centre (1958- ) PACT Professional Association of Canadian Theatres (1976- ), previously League of Canadian Theatres TA (Edmonton) Theatre Associates (1958-70), then WTA (1970- ) TC Theatre Canada (1971-78), formerly DFF UADC University Alumnae Dramatic Club (1942-72), previously the Dramatic Club of the University College Alumnae Association (1920-42), later the Firehall Theatre (1972-78), then Alumnae Theatre (1978-90) and Alumnae Theatre Company (1990- ) U. C. University College, University of Toronto (1853- ) U. of T. University of Toronto (1850- ) WDC Women’s Dramatic Club of University College, occasionally referred to as the Women’s Dramatic Club of the University of Toronto (1908-21) vi Introduction Un/Disciplined Performance I don’t think there is any connection between amateur and professional at all. I can’t conceive of any bridge. — Emrys Jones qtd in Lee, Love and Whisky, 301, 1973 [I]t’s hard to tell when the professionals leave off and the amateurs take over. — Chris Anderson, The Long Tail, 6, 2006 Acting, as a profession, is still in
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