Women of the Northern Stage: Gender, Nationality and Identity and the Work of Canadian Women Stage Directors A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By EMILY A. ROLLIE Dr. Cheryl Black, Dissertation Supervisor July 2013 The undersigned, appointed by the dean of the Graduate School, have examined the Dissertation entitled WOMEN OF THE NORTHERN STAGE: GENDER, NATIONALITY AND IDENTITY AND THE WORK OF CANADIAN WOMEN STAGE DIRECTORS Presented by Emily A. Rollie A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. Dr. Cheryl Black Dr. M. Heather Carver Dr. Suzanne Burgoyne Dr. Jeni Hart ACKNOWLEDGEMENTS Many people deserve great thanks for their help and support in this process, but several deserve particular recognition, for without them I would not even be composing these words. First and foremost, a very special thanks to the four directors who so generously offered their stories and opened up their rehearsal rooms to me. Without their support, cooperation, hospitality, honesty, and humor, this project would not have been possible (nor half as enjoyable or insightful). In conversation, rehearsal, and performance, these women reminded me why I do theatre and demonstrated the power of art to speak to, for, and among communities. I am a better director and human being because of what I learned from these talented women. To my committee – Cheryl Black, Heather Carver, Suzanne Burgoyne, and Jeni Hart – who not only agreed to let me study Canadian theatre but whole-heartedly supported my work, I am deeply grateful. Without your guidance, support, insights, reassurances, nudges, and feedback, this project would not be what it is. More importantly, without your influence, I would not be the feminist artist-scholar that I am. Of course, many thanks also go to my family – academic and biological. To my dear friends and colleagues Bryan, Ron, Milbre, and Vanessa, thank you for being my partners in this academic journey –listening to my musings as well as keeping me on track and smiling. To my mum, a Wonder Woman herself, who has encouraged me more than she knows and told me many times that if she could write a Master’s thesis, I could finish my dissertation. To my dad, for encouraging and supporting my theatre habit. And to my furry writing companion, Bogart, who kept my lap warm and reminded me that breaks were good. ii TABLE OF CONTENTS Acknowledgements ............................................................................................................. ii Table of Contents ............................................................................................................... iii List of Illustrations ........................................................................................................... viii Abstract ............................................................................................................................... x Chapter 1: Introduction ....................................................................................................... 1 Method ......................................................................................................................... 16 Literature Review ......................................................................................................... 30 Chapter Summaries ...................................................................................................... 40 Chapter 2: Setting the stage – Women and the Ideological Status Quo in 21st Century Canada............................................................................................................................... 44 Political Life ................................................................................................................. 45 Women and Women’s Rights, Generally Speaking ..................................................... 49 Diversity, Bilingualism, and Multiculturalism ............................................................ 54 Religion ........................................................................................................................ 59 Sexuality, Children, and Family................................................................................... 61 Issues of Interest for Women and Feminists ................................................................ 62 Theatrical Status Quo ................................................................................................... 68 Regionality versus Toronto-centricism ................................................................... 68 Theatrical and Canonical “Imports” ...................................................................... 74 Realistic Narrative Structures ................................................................................. 77 The Risk of the New ................................................................................................. 79 So Where’s the Beef (Or, National Funding for Arts) ............................................. 81 iii Chapter 3: “Expand[ing] their consciousness” – Kim Collier, Total Theatre, and Tear the Curtain! ............................................................................................................................. 85 Vancouver and British Columbia Theatrical Culture................................................... 91 At the Start of Art: Kim Collier’s Biographical Info ................................................... 95 Total Theatre Explained – An All-Encompassing Theatrical Event ..................... 102 Directorial Methods, Strategies, and Aesthetic .......................................................... 110 Collaboration and Community .............................................................................. 110 Actor-Centered and Inclusive ................................................................................ 113 Audience-Centered Community ............................................................................. 116 Art as Community Healing .................................................................................... 116 Visual Images and Physical Theatre ..................................................................... 119 Extending the Performance Space – Technology, Multimedia, and Site-Specific 123 Tear the Curtain! – A Case Study ............................................................................. 127 On Intersecting and Influencing Identities ................................................................. 144 On Feminism and Gender ..................................................................................... 145 On Canadian-ness ................................................................................................. 156 Chapter 4: “Leading from the center” and “Looking at women in all directions” – Kelly Thornton, Feminist Theatre, and The Penelopiad .......................................................... 162 Setting the (Feminist) Stage: Nightwood Theatre and Feminist Theatre in Canada 166 The Beginnings of a Leader and Director: Kelly Thornton’s Background ............... 175 Directorial Methods, Strategies, and Aesthetic .......................................................... 185 Collaboration ........................................................................................................ 185 Fostering Young Talent ......................................................................................... 189 Actor-Centered ...................................................................................................... 192 At the Center of the Action (or, “On her feet”) .................................................... 195 iv Looking at Women in all Directions ..................................................................... 198 Use of humor ......................................................................................................... 202 Inclusion and Diversity ......................................................................................... 205 The Penelopiad: A Case Study .................................................................................. 209 On Intersecting and Influencing Identities ................................................................. 224 On Feminism and Gender ..................................................................................... 225 On Canadian-ness ................................................................................................. 228 Chapter 5: “Works that blur the borders” – Nina Lee Aquino, Diversity, Opening Doors, and carried away on the crest of a wave......................................................................... 233 Asian-Canadian Theatre in an “Officially Multicultural” Society: A Brief Summary .................................................................................................................................... 238 A Lifetime of Crossing Borders: Nina Lee Aquino’s Background............................ 244 Directorial Methods, Strategies, and Aesthetic .......................................................... 258 New Plays, New and Diverse Voices ..................................................................... 259 Collaboration and Community .............................................................................. 261 Transitioning, or the “In-betweens”