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Member Publications of Toman‟s volume for the International translated by so and so, as it does not imply Journal of Francophone Studies. that it was previously published elsewhere. Toman writes that I neglect to mention “the list Regarding the creative section of the book, I of the eleven initial peer reviewers for this still fail to see how knowing that Accad would project.” A review does not concern itself with pass cheap Chilean wine for fine French wine the review process, and in any case, the list of at some diners she hosted is going to help people on page xi of her volume, the scholars and students of her work. acknowledgments page, are people (two of whom are also contributors) who are thanked The errors are indeed errors: in order not to because they “initially reviewed the imply that Ibrahim al-Kuni is a woman, Toman manuscript in its preliminary stages” thus should not have written “essays…which implying they read the whole manuscript. It compare Accad‟s works with those of women would have been clearer to specify that they writers of Saudi Arabia and Libya (Cooke),” reviewed articles or part of the manuscript. but simply “writers” or “a female writer from Saudi Arabia and a male writer from Libya.” I never claimed that Toman‟s and Heistad‟s As for Samir, there is no mention of this name were designed as companion volumes, but in L’Excisée. wrote that Toman‟s “can be seen as a companion book” to Heistad‟s from a scholar‟s point of view. Critical Bibliography Toman‟s explanation about why her book, published in 2007, does not reference BIBLIOGRAPHIE CHOISIE DU Heistad‟s, which appeared in 2004, raises more THÉÂTRE QUÉBÉCOIS AU FÉMININ questions than it answers. If Toman‟s book was, as she claims, “still undergoing peer DEPUIS LES ANNÉES 1960 reviews” when Heistad‟s book was published préparée par Louise H. Forsyth, in 2004, and authors made corrections at Université de la Saskatchewan various stages of the peer review as she details, how could it be possible that “no other En tant qu'enseignantes, journalistes, significant changes were to be made” to her comédiennes, performeuses, membres de book? More importantly, Toman knew of cercles d'amateurs ou auteures (pièces de Heistad‟s book, and surely the authors of the théâtre et scénarios radiophoniques), un certain three articles that were first published in nombre de femmes font du théâtre au Québec French in Heistad‟s, then in English in depuis des siècles. Cependant, ces femmes ne Toman‟s, knew of these duplicate publications publièrent presque jamais avant le milieu du (two of the articles do not mention a translator, 20e siècle les textes qu'elles avaient écrits ; les leading one to assume that the authors did the spectacles qu'elles produisirent sont oubliés ; translation themselves). Therefore, why are leurs archives restent trop souvent encore these pieces wrongly presented as original aujourd'hui éparpillées un peu partout. Les essays, with no mention that they are the historiens et les critiques du théâtre québécois translations of previously published pieces? As ne tiennent pas souvent compte de leurs for the ones that acknowledge a translator, it is activités. Ce n'est que dans les années 1960 not sufficient to state that a piece has been que la publication et la production sur des scènes professionnelles de pièces de théâtre de www.womeninfrench.org WIF 25.1 Spring 2011 16 femmes commencèrent à être reconnues ARTICLES, CHAPITRES, PRÉFACES, comme des manifestations courantes. À partir INTRODUCTIONS des années 1970, de plus en plus d'artistes québécoises et canadiennes-françaises créent La revue mensuelle Jeu. Cahiers de théâtre pour le théâtre et y font leur carrière en tant (fondée en 1976, autrefois Cahiers de théâtre. que dramaturges, interprètes, metteures en Jeu) publie régulièrement des comptes-rendus scènes, scénographes, régisseuses, de spectacles, de publications et d'événements. techniciennes, enseignantes, directrices Lettres québécoises. Revue de l'actualité artistiques et fondatrices de compagnies. La littéraire (fondée en 1976) publièrent pendant présence des femmes dans tous les champs de longtemps des chroniques sur « Le théâtre l'activité théâtrale se fait respecter depuis qu'on publie » et « Le théâtre qu'on joue ». quatre décennies. Leur contribution à la Livres et auteurs canadiens. Revue critique de pertinence, l'originalité et la beauté du théâtre l'année littéraire comportait entre 1965 et québécois et canadien-français est capitale. 1980 des recensements de livres qui étaient parus au cours de l'année. Cette bibliographie Cette bibliographie choisie se limite aux n'inclut pas de mentions de ces nombreux sources secondaires sur le contexte historique articles courts sur les pièces et les spectacles et socioculturel du théâtre québécois et, dans du Théâtre-femmes. Jeu. Cahiers de théâtre et certains cas, acadien, et sur les créations d'autres revues offrent des numéros spéciaux collectives et la dramaturgie au féminin depuis sur une vaste gamme de sujets portant sur le les années 1960. Elle ne comporte pas les titres théâtre du Québec et d'ailleurs. Ces numéros des pièces de femmes, qui sont, de loin, trop ne figurent pas dans cette bibliographie sauf nombreux pour être inclus ici. Vous trouverez dans le cas où la thématique tourne plus loin sous l'entrée pour le Centre des explicitement autour du théâtre des femmes. auteurs dramatiques (CEAD) à Montréal une Les seuls articles et chapitres retenus ici sont liste choisie de noms de dramaturges ceux qui sont de plus longue haleine, surtout contemporaines et d'autres femmes de théâtre, des prises de position de dramaturges ou des de certaines compagnies et de titres de analyses critiques, ceux qui portent sur un spectacles qui marquèrent l'émergence du aspect particulièrement important du théâtre théâtre au féminin. Le site web et les fichiers des femmes, ou qui ont un intérêt ponctuel. qu'on peut consulter aux locaux du CEAD offrent des informations précieuses et Arbic, Thérèse (1976), « Entre le littéraire et complètes sur les dramaturges, leur œuvre le théâtral, des femmes prises au piège », théâtrale, la production scénique de leurs Chroniques, no 16, p. 16-29. textes, et la réception par la critique journalistique et universitaire de ces textes et Beauchamp, Hélène (1992), « Pol Pelletier : spectacles. Le site des Bibliothèque et artiste sur fond de scène urbaine. A Archives nationales du Québec est une source Portrait. Dedicated to the Woman Artist inestimable d'informations sur les auteures Herself », dans Rita Much (dir.), Women théâtrales et leurs œuvres. on the Canadian Stage. The Legacy of Hrotsvit, Winnipeg, Blizzard Press, p. 56- 68. Bernstein, Tamara (1991), « Pol Pelletier : Giving Birth to Herself », Canadian Theatre Review, no 69, p. 44-49. www.womeninfrench.org WIF 25.1 Spring 2011 17 Blain, Maurice (1966), « Anne Hébert ou le Camerlain, Lorraine, Carole Fréchette et risque de vivre », dans Maurice Blain Lise Vaillancourt (1985), « Le Théâtre (dir.), Présence de la critique, Montréal, Expérimental des Femmes : essai en trois Éditions HMH, p. 155-63. mouvements », Jeu. Cahiers de théâtre, no 36, p. 59-69. Bourque, Denis (2010), « Revendication sociale et carnavalesque dans le théâtre Chiasson, Zénon (1986), « The Acadian acadien », International Journal of Theatre », Canadian Theatre Review, no o Francophone Studies, vol.13, n 2, p. 215- 46, p. 50-71. 32. Cliché, Denise, Andrée Mercier et Isabelle Boyer, Ghislaine (1988), « Théâtre des Tremblay (2004), « Passion, parole et femmes au Québec, 1975-1985 », o libération dans la dramaturgie de Carole Canadian Literature, n 118, p. 61-80. Fréchette », dans Chantal Hébert et Irène Perelli-Contos (dirs), Le Théâtre et ses Brault, Marie-Andrée (2003), « Théâtre nouvelles dynamiques narratives, Saint Expérimental Des Femmes », dans Nicolas, Presses de l'Université Laval p. Dictionnaire des œuvres littéraires du 215-47. Québec, 1981-1985, Tome VII, Montréal, Fides, p. 917-19. Coll. (1978), « Manifeste du Théâtre des --- (2004), « L'expérimental entre invention et o Cuisines (1975) », Jeu. Cahiers de théâtre, provocation », L'Annuaire théâtral, n 35, no 7, p. 69-78. p. 41-54. Coates, Carrol F. (1985), « From Feminism Brossard, Nicole et France Théoret (1976), to Nationalism : The Theater of Françoise « Préface », dans Luce Guilbeault, Marthe Loranger », dans Paula Gilbert Lewis Blackburn, France Théoret, Odette (dir.), Traditionalism, Nationalism, and Gagnon, Marie-Claire Blais, Pol Pelletier, Feminism. Women Writers of Quebec, Nicole Brossard, La Nef des sorcières, e Westport, Connecticut, Londres, Montréal, Éditions Quinze, p. 7-13. 2 Greenwood Press, p. 83-94. édition (1992), Montréal, Typo, p. 9-19. Collin, Françoise (1976), « Antonine Maillet : Burgoyne, Lynda (1990), « Théâtre et Interview », Les Cahiers du GRIF, nos 12 homosexualité féminine: un continent o et 13, p. 44, 41-48. invisible », Jeu. Cahiers de théâtre, n 54, p. 114-18. Collin, Solange (1985), « An Alternative to --- (1991), «Biographie et théâtre chez Jovette the Traditional Theatre in Quebec », dans Marchessault: du mentir-vrai», Jeu. o Ann Dybikowski, Victoria Freeman, Cahiers de théâtre, n 60, p. 111-20. Daphne Marlatt, Barbara Pulling et Betsy Warland (dirs), In the Feminine. Women Camerlain, Lorraine (1984), «L'écriture and Words/Les Femmes et les mots, dramatique des femmes, Prise 1: un festival o Edmonton, Longspoon Press, p. 219-23. en mémoire», Jeu. Cahiers de théâtre, n 32, p. 8-11. Cyr, Catherine (2003), « Du Jeu à l'écriture : --- (1987), « O.K. On change ! », Jeu. Cahiers o passages et métamorphoses », Théâtre. Les de théâtre, n 45, 83-97. www.womeninfrench.org WIF 25.1 Spring 2011 18 Cahiers de la Maîtrise [Université du Bednarski et Irène Oore (dirs.), Nouveaux Québec à Montréal], no 8, 63-73. regards sur le théâtre québécois, Montréal, XYZ Éditeur, p. 105-16. Daoust, Jean-Paul (1978), « 3 et 7 le numéro --- (1998), « Pol Pelletier : Le Théâtre est le magique », Jeu.
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