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Re-Viewing Reception: Criticism of Feminist Theatre in Montreal and Toronto, 1976 to Present

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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. ii Reviewers’ tendency to separate text and spectacle and their consistent reification of universality and objectivity as critical ideals work in contradistinction to feminist theatre, which has historically placed greater emphasis on performance over written text and foregrounded the particularized nature of identity and experience. Drawing extensively on archival materials and applying a materialist feminist framework to the study of theatre criticism, this dissertation examines the history of feminist theatre and performance in Canada from a different perspective than it has previously been studied and suggests new ways to understand the relationship between critics, artists, and audiences. Through its case studies emerge several practical suggestions about responsible and ethical critical writing that can be applied beyond the scope of feminist theatre. iii Acknowledgements This dissertation is dedicated to my late grandmother, Madeleine Castonguay, who passed away shortly before I finished writing. My grandmother had limited access to formal education, but she was the wisest person I have had the honour of knowing and has inspired this research in many ways. In one of our last conversations I told her I would name my first child after her, so it is only fitting that my thesis, the product of a (sometimes) painstaking labour and delivery, is dedicated to her. I also dedicate this to my parents, Judy and Dave, and to my brother, Jonathan. My mom showed up at my first marathon with noisemakers and a homemade sign; she lost her voice from cheering and had blisters worse than mine from walking all over the city to watch the race. This is a reflection of the kind of cheerleader she has been my entire life. Her love, support, and gentle inquiries about how my “paper” is going have gotten me through my longest marathon yet. My stepdad shares my mother’s work ethic, optimism, and calm in the face of any storm, and I am truly grateful to him for his tireless cheerleading as well. My brother’s creativity and passion for what he does inspire me more than he realizes, and his razor sharp wit has kept me laughing over the years. I want to thank my thesis supervisor, Dr. Nancy Copeland. When I began this project there was no question of with whom I wanted to work: Nancy’s scholarly rigour, meticulousness, and expertise in women’s theatre and theatre history made her the only and best choice. She has ushered this project along when I could not see the end, and her feedback—from her careful notes on drafts to our conversations in the Robarts cafeteria—was invaluable. Dr. Paula Sperdakos and Dr. Mariel O’Neill-Karch have been encouraging, interested, and thorough committee members. Paula’s attention to performance, rooted in her artistic experience and iv research on actresses, introduced new and vital questions to my work. Mariel’s French language skills far exceed my own, and more important than the eagle-eyed copy editing she provided in both languages, her knowledge of Canadian theatre history and her experience as a theatre reviewer have brought an indispensible perspective to my work. I always looked forward to committee meetings, and I give my deepest thanks to Nancy, Paula, and Mariel for their contributions to this project. Together we unanimously agreed that Dr. Erin Hurley would be our top choice for external examiner, and I was delighted and honoured that she accepted. Erin’s feedback has provoked my thinking, and I will continue to return to it as I map out the future directions of my research. Doctors Louise Forsyth and Shelley Scott have provided me with research leads and engaged me in conversations about my work that have helped to shape my thinking. This dissertation would certainly not be possible without the groundwork laid by Louise’s research on the Théâtre Expérimental des Femmes and Pol Pelletier, and Shelley’s work on Nightwood Theatre. I am also grateful to Dr. Kym Bird and Dr. Marlis Schweitzer for their mentorship and support; along with Doctors Louis Patrick Leroux, Richard Plant, and Denis Salter, they also provided valued editorial help and research advice. I am grateful to the University of Toronto and the Ontario Ministry of Training, Colleges & Universities for their financial support in the form of scholarships, grants, bursaries, and employment. I also want to thank the librarians and staff at the Centre de Recherches Théâtrales (CERT) at the Université de Québec à Montréal, the L.W. Connolly Theatre Archives at the University of Guelph, and the Théâtrothèque, Centre de recherche interuniversitaire sur la littérature et la culture québécoises (CRILCQ), Université de Montréal. Dr. Tamara Trojanowska hired me for my first teaching job, a newly created theatre v criticism course in the undergraduate Drama program, and Dr. Joan Simalchik gave me my first TA and teaching positions in Women and Gender Studies. I thank them both for their support, mentorship, and encouragement. The students I have had the pleasure of teaching at the University of Toronto have challenged my ideas and opened my mind to different perspectives, making a lasting imprint on my research. The Centre for Drama, Theatre and Performance Studies has provided me with an intellectual and artistic community in Toronto since I started there as a Masters student in 2004. Dr. Stephen Johnson has offered the extra push needed to complete this project; I am also grateful for his advice on everything from funding and job applications to professional development. Dr. John Astington was a member of my examination committee, and his careful comments and questions will help me as I develop this project further. Rob Moses and the late Luella Massey provided guidance through the labyrinth that is the University of Toronto, and I am grateful for their help in all matters over the years. I met Courtney Cauthon, Karen Gilodo, and Lydia Wilkinson at the Drama Centre, and in addition to being respected colleagues, they have become my life-long friends. They have each challenged and inspired me, supported and encouraged me, and made me a proud auntie to their children along the way. Courtney and Lydia also provided help with copy editing and submitting the final version of this thesis when I was not in Toronto to do so. Other Drama Centre friends have helped in the writing process by acting as trusted sounding boards, editing my work, or sharing study space. My gratitude to Doctors Joel Benabu, Barry Freeman, and Paul Halferty, and soon-to-be Doctor Dimitry Senyshyn for their valued friendship and collaboration. There is life outside of academia, and I am thankful for the many dear friends who have reminded me of this over the years. Lexie Buchanan, Erin Dann, Mark Fiorillo, Dr. Amy vi Gullage, Lucy Main, Courtney McFadyen, Mai Noto, J-P Pineau, Annely Zonena, and many others have provided cheerleading, unsolicited hugs, coffee breaks, shoulders to cry on, pep talks, stiff drinks, and unwavering belief in me. I don’t know how I can adequately express my gratitude, but I am looking forward to spending more time with them now that this project is complete. vii Table of Contents Abstract ................................................................................................................................................... ii Acknowledgements ............................................................................................................................ iv List of Tables ........................................................................................................................................... x Introduction: The Artist Seeks Revenge ....................................................................................... 1 Feminist Theatre/Théâtre-Femmes .........................................................................................................
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