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Action thriller starring Steven Seagal. After serving a 15-year sentence for a crime that he did not commit, Shane Daniels (Seagal) is released from jail with a formal pardon from the State of Arizona. But within hours of claiming his freedom, he becomes witness to a botched illegal diamond deal in which members of both the Mexican Mafia and the State Troopers are killed, leaving behind them a terrified girl and a bag of money. Shane must now fight his way through a corrupt town and get the girl to safety in the only way he knows how...
"I don't see how a play can be Canadian. I don't think there are
any plays that you could call strictly Canadian ... What does that
In Volume II, Wasserman shows us Canadian drama from 1985 up to
1997, during which we see women playwrights rise to greater
prominence, along with Native, gay and lesbian, and Quebecois
playwrights. But, continuing on from Volume I, this selection of
plays not only takes us farther into the annals of the lives of the
marginalized; it also provides a revealing cultural and
philosophical cross-section of late-20th-century life in Canada.
That both autobiography and biography have acquired a position of unprecedented importance over the past 30 years is now obvious. Less obvious are the reasons for this phenomenon. Theorists and students of AutoBiography, a research subject now viewed as respectable in academic circles, have recently mapped the contours and shifting parameters of the autobiographical and the biographical processes, thereby contributing to the profile and stature of both.This collection brings theatre practitioners together with academics from three continents in a groundbreaking exploration of the interdisciplinary realm of Theatre and AutoBiography. On the theoretical side, the contributors draw on a range of contemporary theorists: from Jacques Lacan, Gilles Deleuze and Emmanuel Levinas to Judith Butler, Mieke Bal and Homi Bhabha; from Elin Diamond and Jill Dolan to Leigh Gilmore, Paul John Eakin and Philippe Lejeune.In general terms, auto/biographical performances have become hugely popular forms in Europe and North America because we live in a culture of me or I at a time when access to cultural production is easy. AutoBiographies satisfy our desire for story at the same time as they promise to give us truths (if not Truth). With the post-postmodern return of the author and the waning of a deep-seated antihumanism associated with modernist ideology and aesthetics, a desire for agency, voice, visibility and subjectivity has resurfaced with a renewed passion.The playwrights discussed here could scarcely be more broadly representative of British and North American drama in the twentieth and early twenty-first centuries: from W. B. Yeats and Samuel Beckett to Michel Tremblay, Sharon Pollock and David Mamet; from Spalding Gray and Karen Finley to Linda Griffiths; and from Orlan to Sally Clark, R. H. Thomson, Monique Mojica and George Seremba, the range of styles performances and subjectivities is extraordinary.
Spanning the years 1967 to 2010, the two volumes of this anthology will ultimately include thirty plays with introductions and bibliographies by theatre critic Jerry Wasserman. The plays in the first volume date from 1967 to 1991, and outline an indigenous Canadian drama emerging from its colonial roots to celebrate a rising nationalism.
Vancouver's New Play Centre led the way in developing and producing
the work of playwrights from Western Canada for the emergent
Canadian theatre in the 1970s. The New Play Centre has been a major
force in Canadian cultural life for two decades; it retains its
dual role as playwrighting workshop and production company and
remains an important facility for dramatists to reach national and
2006 marked the 400th anniversary of a major theatrical event in the history of North American drama. The Theatre of Neptune in New France by lawyer, poet and historian Marc Lescarbot was a masque of welcome performed on the Bay of Fundy by members of the tiny French colony of Port Royal on November 14, 1606. It celebrated the return of the ship bearing the Sieur de Poutrincourt and navigator-explorer Samuel de Champlain from their travels along the coastline as far south as Cape Cod in search of a more temperate site for the colony.It is a paean to empire, a thanksgiving for survival and an extraordinary theatrical spectacle in a Â new" world peopled by Native inhabitants who are represented in it as both characters and audience. Arguably the first American play, it has also been called Â a significant entry-point of Western cultural hegemony," sparking political activists to disrupt the re-enactment planned for its four hundredth anniversary celebration.This new edition includes the original French script along with its long out-of-print English translations by American historical preservationist Harriette Taber Richardson and Canadian scholars Eugene and Renate Benson, as well as Ben Jonson's The Masque of Blackness (1605), an illustrative contemporary English imperial spectacle. The extensive historical and critical introduction and bibliography are provided by Jerry Wasserman, Professor of Theatre at the University of British Columbia.
Empire of the Son ranked within Top 10 for Georgia Straight, #3 in Vancouver Presents, and #1 in Vancouver Sun Best of 2015 lists.Nominated for Outstanding Original Script, 2016 Jessie Richardson Theatre AwardsCross-cultural perspective
"Modern Canadian Plays" is "the" core text for university-level Canadian drama courses around the world.
Now in its fifth edition, the two-volume Modern Canadian Plays drama series anthologizes major Canadian plays written and performed since 1967. Volume two presents Canadian plays written over the past twenty-five years. These plays respond directly or indirectly to the events of our time; work effectively on the stage, on the page, and in the classroom; and are contextualized with accompanying history, biography, and criticism--all in one place for a reasonable price
"Polygraph" (1988) by Robert Lepage and Marie Brassard
Professor of English and theater at the University of British
Columbia, Jerry Wasserman has written and lectured widely on
Canadian theater and theater history, modern fiction, and blues
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