Adapting “Le Grand Will” in Wendake: Ex Machina and the Huron-Wendat Nation’s La Tempête1
This article examines how La Tempête, a 2011 collaboration between Robert Lepage’s theatre company, Ex Machina, and the Huron-Wendat Nation on the Wendake First Nations reserve, fostered moments of productive interculturalism both on stage and off through what I have termed scenographic dramaturgy....
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Language: | English |
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University of Toronto Press Inc. (UTPress)
2014
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Online Access: | http://dx.doi.org/10.3138/tric.35.3.330 https://utpjournals.press/doi/pdf/10.3138/tric.35.3.330 |
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crunivtoronpr:10.3138/tric.35.3.330 2023-12-31T10:06:55+01:00 Adapting “Le Grand Will” in Wendake: Ex Machina and the Huron-Wendat Nation’s La Tempête1 Poll, Melissa 2014 http://dx.doi.org/10.3138/tric.35.3.330 https://utpjournals.press/doi/pdf/10.3138/tric.35.3.330 en eng University of Toronto Press Inc. (UTPress) Theatre Research in Canada volume 35, issue 3, page 330-351 ISSN 1196-1198 1913-9101 Visual Arts and Performing Arts journal-article 2014 crunivtoronpr https://doi.org/10.3138/tric.35.3.330 2023-12-01T08:18:10Z This article examines how La Tempête, a 2011 collaboration between Robert Lepage’s theatre company, Ex Machina, and the Huron-Wendat Nation on the Wendake First Nations reserve, fostered moments of productive interculturalism both on stage and off through what I have termed scenographic dramaturgy. Lepage’s process of scenic re-“writing” responds to the evocative potential of individual performer bodies and a production’s given physical location to craft a postdramatic adaptation rooted in highly physical and visual performance text. This analysis draws on intercultural theory, scenographic dramaturgy, postcolonial theory, and postdramatic adaptation and includes a brief survey of Quebecois and First Nations Shakespeare productions in Canada, highlighting some of the potential traps of staging postcolonial interpretations, including power imbalances among intercultural collaborators and reductionist portrayals of difference. Ex Machina and the Huron-Wendat Nation’s ability to avoid many of these traps will be interrogated through examples illustrating how scenographic dramaturgy’s three central components—bodies in motion, architectonic scenography, and historical spatial mapping—function as both a process and product fostering progressive dialogue between cultures. Article in Journal/Newspaper First Nations University of Toronto Press (U Toronto Press - via Crossref) Theatre Research in Canada 35 3 330 351 |
institution |
Open Polar |
collection |
University of Toronto Press (U Toronto Press - via Crossref) |
op_collection_id |
crunivtoronpr |
language |
English |
topic |
Visual Arts and Performing Arts |
spellingShingle |
Visual Arts and Performing Arts Poll, Melissa Adapting “Le Grand Will” in Wendake: Ex Machina and the Huron-Wendat Nation’s La Tempête1 |
topic_facet |
Visual Arts and Performing Arts |
description |
This article examines how La Tempête, a 2011 collaboration between Robert Lepage’s theatre company, Ex Machina, and the Huron-Wendat Nation on the Wendake First Nations reserve, fostered moments of productive interculturalism both on stage and off through what I have termed scenographic dramaturgy. Lepage’s process of scenic re-“writing” responds to the evocative potential of individual performer bodies and a production’s given physical location to craft a postdramatic adaptation rooted in highly physical and visual performance text. This analysis draws on intercultural theory, scenographic dramaturgy, postcolonial theory, and postdramatic adaptation and includes a brief survey of Quebecois and First Nations Shakespeare productions in Canada, highlighting some of the potential traps of staging postcolonial interpretations, including power imbalances among intercultural collaborators and reductionist portrayals of difference. Ex Machina and the Huron-Wendat Nation’s ability to avoid many of these traps will be interrogated through examples illustrating how scenographic dramaturgy’s three central components—bodies in motion, architectonic scenography, and historical spatial mapping—function as both a process and product fostering progressive dialogue between cultures. |
format |
Article in Journal/Newspaper |
author |
Poll, Melissa |
author_facet |
Poll, Melissa |
author_sort |
Poll, Melissa |
title |
Adapting “Le Grand Will” in Wendake: Ex Machina and the Huron-Wendat Nation’s La Tempête1 |
title_short |
Adapting “Le Grand Will” in Wendake: Ex Machina and the Huron-Wendat Nation’s La Tempête1 |
title_full |
Adapting “Le Grand Will” in Wendake: Ex Machina and the Huron-Wendat Nation’s La Tempête1 |
title_fullStr |
Adapting “Le Grand Will” in Wendake: Ex Machina and the Huron-Wendat Nation’s La Tempête1 |
title_full_unstemmed |
Adapting “Le Grand Will” in Wendake: Ex Machina and the Huron-Wendat Nation’s La Tempête1 |
title_sort |
adapting “le grand will” in wendake: ex machina and the huron-wendat nation’s la tempête1 |
publisher |
University of Toronto Press Inc. (UTPress) |
publishDate |
2014 |
url |
http://dx.doi.org/10.3138/tric.35.3.330 https://utpjournals.press/doi/pdf/10.3138/tric.35.3.330 |
genre |
First Nations |
genre_facet |
First Nations |
op_source |
Theatre Research in Canada volume 35, issue 3, page 330-351 ISSN 1196-1198 1913-9101 |
op_doi |
https://doi.org/10.3138/tric.35.3.330 |
container_title |
Theatre Research in Canada |
container_volume |
35 |
container_issue |
3 |
container_start_page |
330 |
op_container_end_page |
351 |
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1786839104934117376 |