Sujets :
Théâtre et société - Québec (Province)
Théâtre - Publics - Québec (Province) - Psychologie
Arts du spectacle - Aspect social - Québec (Province)
Nationalisme - Québec (Province)

Dépouillement du document :
Marginals, Metaphors and Mimesis National Construction: Quebec's Modernity at Expo 67
National Reflection: Michel Tremblay's Les belles-soeurs and le nouveau théâtre québécois
National Simulation: Marco Micone's culture immigrée
National Metonymy: Arresting images in the devised works of Carbone 14
National Affection: Céline Dion

Résumé :
In National Performance, Erin Hurley examines the complex relationship between performance and national identity. How do theatrical performances represent the nation in which they were created? How is Quebecois performance used to define Quebec as a nation and to cultivate a sense of 'Quebec-ness' for audiences both within and outside the province? In exploring Expo 67, the critical response to Michel Tremblay's Les Belles Soeurs, Carbone 14's image-theatre, Marco Micone's writing practices, Celine Dion's popular music, and feminist performance of the 1970s and 80s, Hurley reveals the ways in which certain performances come to be understood as 'national' while others are relegated to sub-national or outsider status. Each chapter focuses on a particular historical moment in Quebec's modern history and a genre of performance emblematic of the moment, and uses these to elaborate the nature of the national performances. [editor summary]

Collection : Bibliothèque de l'École nationale de cirque

Localisation : Bibliothèque

Cote : 792.097 14 H9653n 2011

• Ex. 1 — disponible