Canada and the Theatre of War: Volume Two

Edited by Donna Coates & Sherrill Grace

Canada and the Theatre of War: Volume Two
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This second volume of Canadian war drama focuses on plays about contemporary warfare.

Includes:

Game of Patience by Abla Farhoud, translated by Jill Mac Dougall
A Line In the Sand by Guillermo Verdecchia and Marcus Youssef
The Monument by Colleen Wagner
Palace of the End by Judith ... Read more


Overview

This second volume of Canadian war drama focuses on plays about contemporary warfare.

Includes:

Game of Patience by Abla Farhoud, translated by Jill Mac Dougall
A Line In the Sand by Guillermo Verdecchia and Marcus Youssef
The Monument by Colleen Wagner
Palace of the End by Judith Thompson
Scorched by Wajdi Mouawad, translated by Linda Gaboriau
Man Out of Joint by Sharon Pollock

Donna Coates

Donna Coates is an associate professor in the Department of English at the University of Calgary. She has published numerous articles and book chapters on Canadian, Australian, and New Zealand women's literary responses (fiction and drama) to the First and Second World Wars, and to the Vietnam War in Australia.

Sherrill Grace

Sherrill Grace
Sherrill Grace is a professor of English and theatre at the University of British Columbia. She is former President, Academy I, of the Royal Society of Canada. She has lectured widely in North America, as well as in Germany, Italy, England, Belgium, France, China and Japan.

A member of several professional associations, such as the Association of Canadian Studies, the Canadian Association of American Studies, the Association of Canadian College and University Teachers of English, the Canadian Comparative Literature Association, the Modern Languages Association and the International Association of Professors of English, Grace was awarded the prestigious Killam Teaching Prize in 2008, and in 2009 she received the Ann Saddlemyer Award for her biography Making Theatre: A Life of Sharon Pollock.

Introduction / preface

"These plays… insist that Canadians remember, not simply the reassuring stories about war and forgiveness and family, but also the terrible ones in which we failed to act or speak or in which we were complicit through our willed forgetting or were directly responsible for war crimes. The power, artistic skill, and creative experimentation with which these playwrights present their stories and enact the dilemma of remembering and forgetting are never merely theatre, never an aestheticization of violence and cruelty. Their purpose is always, and successfully, more serious and responsible—to the characters, to their personal and our shared public history, and to the work that art does in this world." —from the introduction

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