LEADER 03977nam 2200637 a 450 001 9910823364903321 005 20240313091736.0 010 $a1-282-77644-4 010 $a9786612776441 010 $a1-4438-2184-5 035 $a(CKB)3390000000009229 035 $a(EBL)1080499 035 $a(OCoLC)668193796 035 $a(SSID)ssj0000759177 035 $a(PQKBManifestationID)12281941 035 $a(PQKBTitleCode)TC0000759177 035 $a(PQKBWorkID)10782270 035 $a(PQKB)10238540 035 $a(Au-PeEL)EBL1080499 035 $a(CaPaEBR)ebr10633005 035 $a(CaONFJC)MIL277644 035 $a(OCoLC)620158044 035 $a(FINmELB)ELB144563 035 $a(MiAaPQ)EBC1080499 035 $a(EXLCZ)993390000000009229 100 $a20101206d2010 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 00$aAuthenticity and legitimacy in minority theatre $econstructing identity /$fedited by Madelena Gonzalez and Patrice Brasseur 205 $a1st ed. 210 $aNewcastle upon Tyne $cCambridge Scholars Pub.$d2010 215 $a1 online resource (378 p.) 300 $aDescription based upon print version of record. 311 $a1-4438-2120-9 320 $aIncludes bibiliographical references and index. 327 $aTABLE OF CONTENTS; INTRODUCTION; CHAPTER ONE; LE THE?A?TRE COMMUNAUTAIRE A? BELFAST ET LA QUESTION DE L'IDENTITE? CULTURELLE AU COURS DES ANNE?ES 90; LE « THE?A?TRE CADIEN »; DE IASI (ROUMANIE) A? NEW YORK; DE LA SCE?NE SOCIALE A? LA SCE?NE DE THE?A?TRE; CHAPTER TWO; DE L'OMBRE A? LA LUMIE?RE; BIG ART GROUP; CHRISTOPHER DEANS, THE?A?TRE DOUBLEMENT IDENTITAIRE, RE?SISTANCE ET VISIBILITE? EN E?COSSE; A PAGEANT OF GREAT WOMEN (1909) DE CICELY HAMILTON ET CHRISTOPHER ST.JOHN; CHAPTER THREE; DU PE?NITENCIER AUX PLANCHES; CRE?ATION THE?A?TRALE DANS LE CHILI DES ANNE?ES PINOCHET 327 $aLE THE?A?TRE MILITANT D'AUGUSTO BOAL OU L'ENJEU DE LA SOCIALISATION POLITIQUE DES GROUPES MINORITAIRESLE PREMIER THE?A?TRE D'AIME? CE?SAIRE, ENTRE RE?VOLTE POLITIQUE ET RE?BELLION POE?TIQUE; MARCO MARTINELLI ET LA « ROMAGNA AFRICANA ». DE MOR ARLECCHINO (1993) A? UBU BUUR (2007); CHAPTER FOUR; LA PAROLE BILINGUE DES MINORITE?S FRANCOPHONES DE L'OUEST SUR LES SCE?NES CANADIENNES; DE?FIS DE L'E?CRITURE THE?A?TRALE EN CONTEXTE FRANCO-CANADIEN; L'AUTO-TRADUCTION DU THE?A?TRE DE MARCO MICONE; PARIS, BRUXELLES, VARSOVIE; CHAPTER FIVE 327 $aLE THE?A?TRE DES MINORITE?S ET LA QUE?TE D'AUTHENTICITE? DANS LES INDUSTRIES CULTURELLES OU LA DRAMATURGIE PARALLE?LETHE SASKATCHEWAN NATIVE THEATRE COMPANY; STAGING CHANGES THAT HURT; LE THE?A?TRE COMME TERRITOIRE IMAGINAIRE. ANALYSE DE L'INTERTEXTUALITE? DANS KMU?KAMCH L'ASIERINDIEN, D'YVES SIOUI DURAND; LES THE?A?TRES INDIENS TRADITIONNELS ET LEUR DEVENIR MINORITAIRE; LE HAKA MAORI SUR LA SCE?NE NE?O-ZE?LANDAISE CONTEMPORAINE; NOTES ON CONTRIBUTORS; INDEX 330 $aContemporary theatre is one of the best ways for ethno-cultural minorities to express themselves, whether they be of indigenous origin or immigrants. It is often used to denounce social injustice and discrimination and, more generally, it helps to air questions debated in the wider community. It may also express itself thanks to the staging of collective memory, for it constitutes a privileged space for the exploration of the trauma of the past (colonial, for example), as well as providing a ... 606 $aEthnic theater 606 $aEthnic theater$zCanada 615 0$aEthnic theater. 615 0$aEthnic theater 676 $a792.089 701 $aGonzalez$b Madelena$0480151 701 2$aDumousseau$b Magali$01636348 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910823364903321 996 $aAuthenticity and legitimacy in minority theatre$93977578 997 $aUNINA