Candaian Theatre

Canadian identity has always been difficult to define. This definition is essential in order to evaluate theatre in Canada. French Canadians appear to have no difficulty in establishing their own identity, both on and off the stage, as they share a distinct tradition. We, as English-Canadians, have continued to define ourselves by reference to what we are not, American, rather than in terms of our own national history and tradition. For English Canadians, this tradition comes not from the nation but instead from community and region. Because English-Canada has such a great cultural diversity, nationality and relevance to our outstanding values and attitudes must define the Anglophone Canadian identity, both on and off the stage.

When a Canadian is asked what his or her nationality is, he most often does not reply by saying Canadian. Instead he will answer by his European, African or Asian roots. This is because we as Canadians do not see ourselves as distinct Canadians, but rather as a collection of diversified individuals. Because of this attitude, Canada lacks a common idea of what it means to be Canadian. This common idea could simply be that anyone residing in Canada, whether by birth or citizenship, is in fact distinctly Canadian. By the same argument, English-Canadian theatre can be constituted by any theatrical performance written or produced by an individual of Canadian nationality. Edward Gilbert, who served as artistic director of the Manitoba Theatre Centre, advanced his own particular opinion of Canadian drama and dramatists. Concerning Canadian playwrights he wrote, “ I do not care where [artists] come from or what nationality they have or what race they belong to. If they have something to say, they’re welcome in my book. (Chusid 14).” Just having something to say is not enough. These artists are free to express themselves in Canadian theatre; however, as they do not have any aspect of culture, their work cannot be classified as Canadian. English-theatre, therefore, is vastly embodied by its Canadian cultural identity in the form of nationality. This can be seen in both Hedda Gabler performed at the GCTC and Shakespeare’s Dead & Foolius Ceasar performed at Academic Hall.

Theatre companies of Canadian nationality, The Great Canadian Theatre Company (GCTC) and Company of Fools produced both Hedda Gabler and Shakespeare’s Dead & Foolius Ceasar respectively. This alone is enough to define both these plays as being Canadian.