Canadian Theatre Encyclopedia
Ethnic Theatre
Though ethnic theatre truly exploded post-WWII with the massive influx of immigrants and refugees (including theatre professionals), theatre representing the country's broad cultural base had existed in Canada since before the turn of the century.
In Manitoba and Ontario Ukrainian communities were presenting plays. As well, in Montreal, Yiddish theatre, touring and local, played the Monument National .
After the war, however, theatre companies from diverse cultural communities were established across the country. The Italian Piccolo Teatro (1949-76), the Latvian DV Theatre (1951-) the Ukrainian Drama Theater Zahrava (1953-), the Hungarian Art Theatre (1958-) all in Toronto, the Yiddish Theatre (1956-), the Deutsches Theatre (1952-) both in Montreal, and the Lithuanian Aukuras (1950-) in Hamilton, all attest to the strength of the various communities and their devotion to the arts.
But what must be noted in all these cases is the Eurocentrism of the groups. Although many of the companies' talented young artists found a place in the anglophone or francophone theatrical communities, it became clear that people of colour were confined to community theatre, with few opportunities in professional theatre companies.
In 1972, the Liberal government under Pierre Trudeau created a Ministry of State for Multiculturalism. Government funding was now available for a diversification of cultural expression which included non-whites.
The 1970s and 80s saw the creation or growth of several Black companies including the roots of Black Theatre Workshop (Montreal), Theatre Fountainhead and Black Theatre Canada (Toronto). In the 80s, Nova Scotia's Kwacha was supported by both critics and audiences for a decade. Obsidian Theatre Company was founded in Toronto in 2000.
Though Asians had been represented in theatre in Canada as early as 1933 in the Chinese United Dramatic Society's presentations of Cantonese opera, it was late in the century before the various communities of the Pacific Rim began to form companies like the Korean Kookdan (Toronto, 1982), the Filipino Carlos Bulosan Cultural Workshop (Toronto, 1984), Canasian Artists Group (Toronto, 1983), and Teesri Duniya Theatre (Montreal, 1981). More recently, fu-GEN Asian-Canadian Theatre Company (Toronto, 2002) has developed and presented works by Filipino, Chinese, Korean, and Indian artists, and Modern Times Stage Company combines traditional Iranian stories with contemporary sensibilities.
In Kitchener, The MT Space was founded in 2004 with a mandate "to explore cultural intersections amongst people, their histories, and their forms of expression."
In Vancouver, numerous independent theatres have adopted an intercultural mandate, and focus on the development and production of the works of minority artists; for example, urban ink and Rumble Productions .
The range of productions in the early companies varied from European classics (Piccolo's production of Goldoni's La Locandiera), to the traditional theatrical forms of the specific group (Toronto's Iranian Namysh-Khaneh's classical works in Farsi), to fusionist theatre linking the community with the new country's theatre (Yiddish Theatre's production of Michel Tremblay 's Les Belles-Soeurs ), to expressions of a people in a new land (Canasian's production of Rick Shiomi's Yellow Fever). Contemporary "intercultural" drama also explores the complex dynamics of an increasingly diverse Canadian society.
Since the 1980s companies like Cahoots Theatre Company , Nightwood Theatre , Factory Theatre , and Theatre Passe Muraille , have all encouraged the development of works outside the white mainstream through workshops, readings, and festivals. Though very slow, we are also seeing the integration of multicultural voices into mainstream theatres, such as Centaur Theatre 's co-production with Black Theatre Workshop of Playboy of the West Indies, the various productions across the county of American David Henry Hwang's M. Butterfly. More importantly, both mainstream and ethnic minority audiences have responded enthusiastically to Dennis Foon 's New Canadian Kid, Marty Chan 's Mom, Dad, I'm Living with a White Girl, and Leon Aureus's Banana Boys. There has also been a very positive critical reception for George Seremba 's Come Good Rain; and of Michel Monty 's treatment of white/Black relations in Montreal, Prise de Sang. The production of playwright/actor Djanet Sears 's Harlem Duet at the Stratford Festival also signals a more inclusive mandate. These productions, and many others all point to an evolution in the theatrical consciousness of the country and to an embracing of diversity in art and artist.
See also: Aboriginal Theatre , Children of Kush Arising , Winnipeg Jewish Theatre .
Reading: Canadian Theatre Review 139: Intercultural Performance. Ed. Ric Knowles .
Gaetan Charlesbois and Anne Nothof
Last updated 2010-05-26
Since October 2002, Athabasca University has hosted the web site, with an editorial board comprising members of the Canadian Association for Theatre Research.
To submit an entry for consideration, please consult our guidelines for submissions. Please follow the guidelines. Failure to do so will result in your submission being returned to you.
Email your submission to Anne Nothof.
The Encyclopedia collects and disseminates information on plays, playwrights and theatre practitioners. It does not respond to requests for information, auditions, bookings, or tickets.
The Canadian Theatre Encyclopedia web site was originally conceived and developed in 1996 by Gaetan Charlebois—theatre critic, playwright, and actor.
