Despite a recent increase in the productivity and popularity of Indigenous playwrights in Canada, most critical and academic attention has been devoted to the work of male dramatists, leaving female writers on the margins. In Indigenous Women’s Theatre in Canada, Sarah MacKenzie addresses this critical gap by focusing on plays by Indigenous women written and produced in the socio-cultural milieux of twentieth and twenty-first century Canada. Closely analyzing dramatic texts by Monique Mojica, Marie Clements, and Yvette Nolan, MacKenzie explores representations of gendered colonialist violence in order to determine the varying ways in which these representations are employed subversively and informatively by Indigenous women. These plays provide an avenue for individual and potential cultural healing by deconstructing some of the harmful ideological work performed by colonial misrepresentations of Indigeneity and demonstrate the strength and persistence of Indigenous women, offering a space in which decolonial futurisms can be envisioned. In this unique work, MacKenzie suggests that colonialist misrepresentations of Indigenous women have served to perpetuate demeaning stereotypes, justifying devaluation of and violence against Indigenous women. Most significantly, however, she argues that resistant representations in Indigenous women’s dramatic writing and production work in direct opposition to such representational and manifest violence.

Closely analyzing dramatic texts by Monique Mojica, Marie Clements, and Yvette Nolan, MacKenzie explores representations of gendered colonialist violence in order to determine the varying ways in which these representations are employed subversively and informatively by Indigenous women.

This transnational and transcultural study intimately investigates the theatre making practices of Indigenous women playwrights from Australia, Aotearoa, and Turtle Island. It offers a new perspective in Performance Studies employing an Indigenous standpoint, specifically an Indigenous woman’s standpoint to privilege the practices and knowledges of Maori, First Nations, and Aboriginal women playwrights. Written in the style of ethnographic narrative the author affords the reader a ringside seat in providing personal insights on the process of negotiating access to rehearsals in each specific cultural context, detailed descriptions of each rehearsal location, and describing the visceral experiences of observing Indigenous theatre makers from inside the rehearsal room. The Indigenous scholar and theatre maker draws on Rehearsal Studies as an approach to documenting the day-to-day working practices of Indigenous theatre makers and considers an Indigenous Standpoint as a valid framework for investigating contemporary Indigenous theatre practices in a colonised context.

This foundational study offers an accessible introduction to Native American and First Nations theatre by drawing on critical Indigenous and dramaturgical frameworks. It is the first major survey book to introduce Native artists, plays, and theatres within their cultural, aesthetic, spiritual, and socio-political contexts. Native American and First Nations theatre weaves the spiritual and aesthetic traditions of Native cultures into diverse, dynamic, contemporary plays that enact Indigenous human rights through the plays' visionary styles of dramaturgy and performance. The book begins by introducing readers to historical and cultural contexts helpful for reading Native American and First Nations drama, followed by an overview of Indigenous plays and theatre artists from across the century. Finally, it points forward to the ways in which Native American and First Nations theatre artists are continuing to create works that advocate for human rights through transformative Native performance practices. Addressing the complexities of this dynamic field, this volume offers critical grounding in the historical development of Indigenous theatre in North America, while analysing key Native plays and performance traditions from the mainland United States and Canada. In surveying Native theatre from the late 19th century until today, the authors explore the cultural, aesthetic, and spiritual concerns, as well as the political and revitalization efforts of Indigenous peoples. This book frames the major themes of the genre and identifies how such themes are present in the dramaturgy, rehearsal practices, and performance histories of key Native scripts.

This study investigates the representation of Aboriginal womanhood in Aboriginal women's theatre in Canada. Using five core case studies to explore Indigenous women's self-representation, I demonstrate how Native theatre engages in acts of resistance that promote the decolonization of Aboriginal womanhood. Drawing on concepts of Aboriginal storytelling, I attempt to weave the connections between the personal story and the collective history to demonstrate how these plays use theatrical presence to rebuke historical and contemporary absences of Native women. Each play does this by taking aim at political policies, stereotypes in popular culture, and sexual violence, which all sustain negative constructions of Native womanhood. Chapter one establishes the context(s) in which these plays exist and explores a history of legislation and policies that contributes to the negative representations of Aboriginal women. Chapters two and three demonstrate how Native women's theatre confronts stereotypes of Aboriginality and deconstructs them as a form of personal and collective healing. Chapter two explores how culture jamming and humour are used to disrupt the re-circulation of stereotypes in order to challenge the cultural currency stereotypes maintain in film, television, and other medias. In chapter three I explore the connection between the stereotypes and sexualized violence. I identify strategies used to represent violence, specifically around concepts of "presence" and "absence." The function of violence in these plays is not one of (re)victimization, but one that evokes concepts of testimony, witnessing, and storytelling. It will also deal with the problematic perceived trajectory of healing and identity formation through violence in some of the plays. Chapter four looks to the relationship between identity and community and signals how a return to "home" and community can help rebuild positive Indigenous identities and becomes the final act of resistance. Chapter five examines the relationship between storytelling (in the theatre), history, and witnessing trauma. It proposes that Native storytelling, especially in the theatre, is an act of survivance that challenges historical absences. Finally, in chapter six, I look forward to the transnational applications of my research and gesture to Indigenous eco-theatre as one avenue that promotes the decolonization of Indigenous peoples globally.

Surrealist dramatization of a notorious case involving mysterious deaths on Vancouver's Skid Row. Cast of 11 women and 2 men.

This introduction to the staging of genders and sexualities across world theatre sets out a broad view of the subject by featuring plays and performance artists that shifted the conversation in their cultural, social, and historical moments. Designed for weekly use in theatre studies, dramatic literature, or gender and performance studies courses, these ten milestones highlight women and writers of the global majority, supporting and amplifying voices that are key to the field and some that have typically been overlooked. From Paula Vogel, Split Britches, and Young Jean Lee to Werewere Liking, Mahesh Dattani, Yvette Nolan, and more, the chapters place artists’ key works into conversation with one another, structurally offering an intersectional perspective on staging genders and sexualities. Milestones are a range of accessible textbooks, breaking down the need-to-know moments in the social, cultural, political, and artistic development of foundational subject areas.