Introduction: Quebecois Theatre without Borders

Abstract

In his book Theatre and Globalization, Patrick Lonergan advances the idea that globalization is transforming the configuration of economic and cultural exchanges, leading to a deterritorialization of power that affects both cultural and economic arenas. Power moves from the precise physical location of its exercise to a conceptual space linked to the domination of brands (Lonergan 21). In this globalized and reconfigured cultural space, it makes sense to reflect upon the position of Quebecois theatre, to examine the strategies and tools that enable a segment of it to cross borders, and to contemplate whether its position on the global cultural stage has something to teach us about the manner in which the players in this relatively small theatre community can play their cards right in this new, international theatre dynamic. Thus the title of this special issue, Quebecois Theatre without Borders, as we have called it, in which the contributors examine the integration of these practices in a framework that exceeds the nation. Of course, these international exchanges have a long history. Indeed, since the nineteenth century theatre professionals in Quebec have been practicing their craft far beyond the borders of la belle province, while theatre companies have invested more time in regularly taking their productions abroad. Some theatre companies, such as the Theatre du Nouveau Monde or the Rideau Vert, began touring episodically in the 1950s and 1960s. Similarly, some authors from French Canada were staged in Paris or New York prior to 1968. However, it is only in that fateful year that the movement really began; Michel Tremblay s plays obtained an international recognition that would pave the way for the subsequent, warm reception of plays written by Normand Chaurette, Daniel Danis, Carole Frechette, Wajdi Mouawad and their consorts. Within the sphere of theatre directing, it is Robert Lepage who put Quebec on the world map, followed shortly thereafter by creators as different as Denis Marleau and Carbone 14, not to mention the crucial contribution of Cirque du Soleil in the realm of the contemporary circus. This dynamism may seem surprising, given Quebec s somewhat short theatrical tradition, but it might be explained by the province s connection to two large international networks: the Francophonie and the Anglo-Saxon world. Furthermore, Quebec has a dynamic playwrights centre at its disposal and at least two festivals (the Festival TransAmeriques and the Carrefour international de theatre) that have firmly established themselves in their respective circles, proof that energy invested in the right place contributes greatly to the promotion of a culture. However, none of this would exist without the climate for aesthetic emulation that has prevailed on the performing arts scene in Quebec for nearly forty years. For the purpose of this issue, we use the word theatre in the broad sense of performing arts or arts de la scene, which is the more commonly used term in French. The present issue thus offers an overview of the international ventures of Quebecois theatre. The contributing authors highlight its chief characteristics (dissemination, translation, cultural mediation, etc.) but also certain aspects that are not as commonly known (for instance, the translation of Daniel Danis s plays in Chile). The reader will note the geographical explosion of Quebecois theatre s routes, an itinerary that attests to the variety of Quebecois theatrical practices and their ability to reach diverse audiences despite the great challenges that must be surmounted by those who facilitate the passage of texts and plays whose historical, cultural and linguistic contexts are not always easy to grasp. Neither does the reception of Quebecois works occur without a kind of interfering intercultural crosstalk; however, the points of contact seem to outdo these misunderstandings in certain regions of the globe where the wealth of established relationships is striking. …