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dc.contributor.authorNothof, Anne
dc.descriptionMy presentation was one of three in the concurrent session entitled “Staging Blackness”, on Saturday, May 23 at 1:30. The audience turnout was high, and the response was positive and engaged. Playwright and artistic director, Rahul Varma, pointed out that my paper did not cover the important intercultural work of Teesri Duniya theatre in Montreal; my response was that my stated objective was to consider theatre in Toronto only, and that I plan to include a consideration of Montreal intercultural theatre companies and productions in another paper, proposed for a conference on postcolonial studies in Bergamo Italy in October, 2009. Ric Knowles, a professor from the University of Guelph, who is similarly engaged in a study of intracultural theatre practice, pointed to the material limitations of production for “ethnic” groups, a point which I will include in a revision to this paper. I will now revise and submit my paper to alt.Theatre, a Canadian publication on multicultural theatre.en
dc.description.abstractIndividually and collectively, visible minority theatre artists in Canada dramatize their distinctiveness and their differences through the stories they tell. Their need to express their “terroir” may be impelled by a desire to reify a particular immigrant varietal within a dominant culture, or it may be an attempt at acclimatization – expressing the ways in which different cultures may by hybridized. The complexity of these productions by culturally divergent theatre groups is compounded by a radically diverse audience response, which can result in internal fractures and disruptions, as was the case with the response from the Black community to the production of da Kink in my hair by Trey Anthony. Can any playwright, theatre company, critic or audience member purport to speak “for” or “to” a specific community? Do the words of one individual playwright, expressed through actors, set design, and lighting, constitute a communal voice? Do the issues explored in the play speak to the values of a particular ethnic group? Are the assumptions about and expectations for ethnic theatre different from those of more “mainstream” theatre, and will they shift according to the ways in which these “Other” theatres become more inclusive? This paper will consider the recent mandates and productions of three Toronto theatres -- Obsidian, fu-Gen Asian-Canadian Theatre, and Cahoots Theatre Projects -- in an attempt to address these questions.en
dc.subjectvisible minority theatreen
dc.subjectradically diverse audience responseen
dc.titleThe Terroir of Minority Canadian Theatre: Resisting Acclimatizationen

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