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2021
The book examines the concept of Indigenous theatre as theorized by artist-scholar-researcher Floyd Favel (Cree) from Poundmaker reserve, Canada. It focuses both on his pioneering critical work on Indigenous theatre and essays devoted to diverse aspects of Indigenous cultures in Canada. Favel was the only Indigenous student of Jerzy Grotowski, Polish revolutionary theatre artist, and scholar. The book contains translations into Polish of Favel's select critical essays, poetry, and his play. It also contains four essays on his work and theatre methodologies, as well as on Cree culture and storytelling.
University of Toronto Quarterly
Aboriginal Drama and Theatre. Critical Perspectives on Canadian Theatre in English Volume 1 (review)2007 •
2010 •
Cambridge History of Canadian Literature
Aboriginal Theatre in Canada2009 •
The diversification of both professional and community work over the last three decades has produced an Aboriginal theater that is vibrant, polyvocal, syncretic and frequently resistant to categorization. Like other Indigenous art forms in Canada, this work has necessarily served at least two different constituencies: its own distinct communities and the broader postcolonizing society from which many audience members are drawn. As this brief survey suggests, Aboriginal theater has wrestled with the legacies of colonialism in original and provocative ways; it has also looked forward to imagine different futures for Indigenous peoples and to forge new cultural and artistic allegiances, facilitating a pronounced if uneven shift in the nation’s performing arts culture.
2011 •
Canada and Beyond: A Journal of Canadian Literary and Cultural Studies
In the Rhythm of Cree Samba: transculturality and decolonization in Tomson Highway´s Theatre2017 •
The voice that comes from Indigenous artists, writers and activists in the Americas, in artistic works which can be related to Mary Louise Pratt’s concept of autoethnographic expression (1992), inevitably engages with discourses constructed about them in order to reconstruct or deconstruct colonial narratives. However, some artists seem to go beyond the discussion of a colonizing voice versus a response from the colonized, since they engage with practices that include Indigenous knowledge in a global perspective. This is the case of Cree Canadian artist Tomson Highway. He creates a transcultural and transnational work that challenges territorial and genre conventions in a kind of practice that can be related to what Diana Taylor (2007) denominates hemispheric performance. Highway is an artist and a cultural agent that participates in the exchange of knowledge between cultures and in the continuation of Cree/Ojibway storytelling. His openness to artists and critics from many differen...
2019 •
This dissertation attempts to express the importance of storytelling within the Indigenous Theatre framework. It does so by first analyzing the progression of the writer’s unique upbringing and analyzing the influences of story upon an indigenous identity. I will also attempt to describe the aesthetics of Native Theater along two lines of methodology which includes praxis described and developed by Hanay Geiogamah and Rolland Meinholtz. I will also explain how the script 1n2ian tries to follow those concepts of Native Theater to create a ceremonial performance that uses a blending of both methodologies.
Studies in Canadian Literature Etudes En Litterature Canadienne
Beyond the Divide: The Use of Native Languages in Anglo-and Franco-Indigenous Theatre2010 •
Social Anthropology
The challenge of indigenous peoples. Spectacle or politics?, edited by Glowczewski, Barbara and Rosita Henry2012 •
American Indian Culture and Research Journal
Introduction to Indigenous Performances: Upsetting the Terrains of Settler Colonialism2011 •
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