Politicizing Difference: Performing (Post)Colonial Historiography in Le Théâtre de Neptune en la Nouvelle-France and Sinking Neptune
Four hundred years after Marc Lescarbot’s performance of Le Théâtre de Neptune en la Nouvelle-France — the first documented play in Canada — Montreal’s Optative Theatrical Laboratories mounted a revisionist re-enactment, Sinking Neptune. Lescarbot’s play adapted the European oceanic masque and Frenc...
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University of New Brunswick
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ftuninewbrunojs:oai:ojs.journals.lib.unb.ca:article/21446 2023-05-15T17:12:57+02:00 Politicizing Difference: Performing (Post)Colonial Historiography in Le Théâtre de Neptune en la Nouvelle-France and Sinking Neptune Wright, Kailin 2013-01-01 text/html application/pdf https://journals.lib.unb.ca/index.php/SCL/article/view/21446 eng eng University of New Brunswick https://journals.lib.unb.ca/index.php/SCL/article/view/21446/24886 https://journals.lib.unb.ca/index.php/SCL/article/view/21446/24887 https://journals.lib.unb.ca/index.php/SCL/article/view/21446 Copyright (c) 2015 Studies in Canadian Literature / Études en littérature canadienne Studies in Canadian Literature; Volume 38, Number 1 (2013) Études en littérature canadienne; Volume 38, Number 1 (2013) 1718-7850 0380-6995 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion research-article 2013 ftuninewbrunojs 2022-07-11T11:44:59Z Four hundred years after Marc Lescarbot’s performance of Le Théâtre de Neptune en la Nouvelle-France — the first documented play in Canada — Montreal’s Optative Theatrical Laboratories mounted a revisionist re-enactment, Sinking Neptune. Lescarbot’s play adapted the European oceanic masque and French réception to welcome the returning French colonial leader, to naturalize the imperial project, and to instruct its Indigenous Mi’kmaq viewers on how to act like dutiful “sauvages.” Sinking Neptune, in turn, critiques Lescarbot’s play as a colonialist “derogatory spectacle” and frames the play as an imperialist fantasy of intercultural harmony, challenging its cultural implications as a Canadian first. Through its collective creation process, multiple sources, divergent perspectives, shifts in historical context, and interactive performance, Sinking Neptune exemplifies postcolonial revisionist historiography. The play demonstrates that revisionist drama involves both a representation and a deconstruction of imperial values, rhetoric, and strategies to enact repetition with political difference. Article in Journal/Newspaper Mi’kmaq University of New Brunswick: Centre for Digital Scholarship Journals Canada |
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University of New Brunswick: Centre for Digital Scholarship Journals |
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English |
description |
Four hundred years after Marc Lescarbot’s performance of Le Théâtre de Neptune en la Nouvelle-France — the first documented play in Canada — Montreal’s Optative Theatrical Laboratories mounted a revisionist re-enactment, Sinking Neptune. Lescarbot’s play adapted the European oceanic masque and French réception to welcome the returning French colonial leader, to naturalize the imperial project, and to instruct its Indigenous Mi’kmaq viewers on how to act like dutiful “sauvages.” Sinking Neptune, in turn, critiques Lescarbot’s play as a colonialist “derogatory spectacle” and frames the play as an imperialist fantasy of intercultural harmony, challenging its cultural implications as a Canadian first. Through its collective creation process, multiple sources, divergent perspectives, shifts in historical context, and interactive performance, Sinking Neptune exemplifies postcolonial revisionist historiography. The play demonstrates that revisionist drama involves both a representation and a deconstruction of imperial values, rhetoric, and strategies to enact repetition with political difference. |
format |
Article in Journal/Newspaper |
author |
Wright, Kailin |
spellingShingle |
Wright, Kailin Politicizing Difference: Performing (Post)Colonial Historiography in Le Théâtre de Neptune en la Nouvelle-France and Sinking Neptune |
author_facet |
Wright, Kailin |
author_sort |
Wright, Kailin |
title |
Politicizing Difference: Performing (Post)Colonial Historiography in Le Théâtre de Neptune en la Nouvelle-France and Sinking Neptune |
title_short |
Politicizing Difference: Performing (Post)Colonial Historiography in Le Théâtre de Neptune en la Nouvelle-France and Sinking Neptune |
title_full |
Politicizing Difference: Performing (Post)Colonial Historiography in Le Théâtre de Neptune en la Nouvelle-France and Sinking Neptune |
title_fullStr |
Politicizing Difference: Performing (Post)Colonial Historiography in Le Théâtre de Neptune en la Nouvelle-France and Sinking Neptune |
title_full_unstemmed |
Politicizing Difference: Performing (Post)Colonial Historiography in Le Théâtre de Neptune en la Nouvelle-France and Sinking Neptune |
title_sort |
politicizing difference: performing (post)colonial historiography in le théâtre de neptune en la nouvelle-france and sinking neptune |
publisher |
University of New Brunswick |
publishDate |
2013 |
url |
https://journals.lib.unb.ca/index.php/SCL/article/view/21446 |
geographic |
Canada |
geographic_facet |
Canada |
genre |
Mi’kmaq |
genre_facet |
Mi’kmaq |
op_source |
Studies in Canadian Literature; Volume 38, Number 1 (2013) Études en littérature canadienne; Volume 38, Number 1 (2013) 1718-7850 0380-6995 |
op_relation |
https://journals.lib.unb.ca/index.php/SCL/article/view/21446/24886 https://journals.lib.unb.ca/index.php/SCL/article/view/21446/24887 https://journals.lib.unb.ca/index.php/SCL/article/view/21446 |
op_rights |
Copyright (c) 2015 Studies in Canadian Literature / Études en littérature canadienne |
_version_ |
1766069828393631744 |