Author: Karen Fricker

This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

Matthew Hunt, Sharon O’Brien, Patrick Cadwell and Dónal P. O’Mathúna

2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement No 734211. Matthew Hunt holds a Research Scholar Award from the Fonds de Recherche du Québec-Santé. 2 www.unige.ch/inzone/who-we-are/ (accessed 6 January 2020). 3 http://inzone.unige.ch/rrm/ (password access required) (accessed 6 January 2020). 4 https://translatorswithoutborders.org/ (accessed 6 January 2020). Of note here is the fact

Journal of Humanitarian Affairs
The Dragon’s Trilogy
Karen Fricker

1 Local, global, universal? The Dragon’s Trilogy Québec is multiple, it is in the global village, and not just in the franco­phonie. It has to be part of the world! My nationalist act is to make theatre here and abroad, with my roots and my languages, my history. (qtd in Lévesque ‘Archange’)i Robert Lepage made this statement in 1992, less than a decade after his international reputation was launched with the touring success of the epic group production La Trilogie des dragons/The Dragon’s Trilogy and the solo show Vinci. While affirming the central place of

in Robert Lepage’s original stage productions
Robert Lepage’s Coriolan
Robert Ormsby

In October 1995, less than two years after Robert Lepage’s 1992–94 Cycle Shakespeare tour ended in Québec City, Canada narrowly avoided what seemed like national dissolution when Québec voters, by a margin of only one per cent, turned down a proposal to negotiate sovereignty from the country. The tour of the Cycle – comprised of Coriolan, Macbeth and La Tempête

in Coriolanus
Chantier de l’Économie Sociale Trust, Montreal
Jean-Marc Fontan and Denis Bussières

, the terms offered by these lenders far surpass the ability of the enterprises to repay. Finding a solution to this problem would greatly facilitate the development of social economy enterprises in Quebec. The social economy CURA was funded via a five-year research grant from the Social Sciences and Humanities Research Council’s CURA programme. The CAP project did not require any special funding. The seminars and working group meetings were funded from the amounts allocated to the different CAPs under the social economy CURA. Organization/structure CAP was

in Knowledge, democracy and action
Abstract only
Karin Fischer

education policy have remained rare in the Irish context. The concept of interculturalism, which has played an important role in recent Irish political and educational discourse, was largely developed in Canada, and especially in Quebec, as well as through the Council of Europe (with other international influences of course, such as that of Carmel Camilleri from Tunisia in the 1980s). However, this does not seem to have led educational actors, or even most researchers in Ireland, to explore further what developments in some of those countries might be of interest for

in Schools and the politics of religion and diversity in the Republic of Ireland
Lepage and Ex Machina’s futures
Karen Fricker

left behind, alone, in China. While this was played lightly, the production revealed that questions of responsibility, the balance between artistic and family life, and what we leave behind were active ones for Lepage and Marie Michaud in their creation of the show. The central trope of 887 is memory: in it Lepage, playing himself, recalls his early years in Québec City and considers the struggles of his taciturn taxi-driver father to support the family and reconcile his own federalist leanings with the nationalist tide of the Quiet Revolution. In it Lepage also

in Robert Lepage’s original stage productions
‘Slaying the dragon of Eskimo status’ before the Supreme Court of Canada, 1939
Constance Backhouse

Government and the province of Quebec over who should have to pick up the tab for the meagre relief rations that were being distributed to Aboriginal communities on the Ungava Peninsula of Hudson’s Bay. The people who inhabited the region called themselves ‘Inuit’, meaning ‘the people’ in their language of Inuktitut. Europeans erroneously called them ‘Eskimos’, a term that may have

in Law, history, colonialism
Abstract only
Karen Fricker

Introduction Robert Lepage is one of the best-known and most productive figures in the contemporary international performing arts; the London Daily Telegraph has called him ‘probably the planet’s most venerated director’ (Rees). He is active across performance genres, from original theatre productions to stagings of existing theatre and opera texts, to circus, ballet, film, and large-scale video installation. His creativity is at the centre of a small conglomeration of organisations in his native Québec City, which include Ex Machina, a not-for-profit production

in Robert Lepage’s original stage productions
Abstract only
Returned migrants and the Canada Club
Kathleen Burke

, approximately half were Scots, or had Scottish ancestry. Many of those men had close connections with Montreal or Quebec commercial interests, set up as a consequence of earlier fur trading activities. Among these, four members of the Gillespie family, two McGillivrays, William and Simon McTavish, and Alexander Mackenzie were most notable. 15 Even the most influential British member, Edward Ellice, claimed Scottish ancestry, and was a member of a merchant company that had been active in the North American fur trade since the mid-1760s. 16

in Emigrant homecomings