In lieu of an abstract, here is a brief excerpt of the content:

an artificial and limiting distinction.” Mark Fortier, Theory/Theatre: An Introduction (London and New York: Routledge 1997), pp. 12–13. 30 Gaboriau, “A Servant of Two Masters,” p. 45. 31 Gaboriau, ““The Cultures of Theatre,” p. 85. 32 Gaboriau, “The Cultures of Theatre,” p. 84. 33 Gaboriau, “The Cultures of Theatre,” p. 85. 34 Gaboriau, “A Servant of Two Masters,” p. 47. 35 In Barbara Godard’s estimation, Rossignol staged “an extraordinarily dynamic ritualized performance with exaggerated movement in which Marchessault’s lyric flights functioned as speech in action, creating effects of spectacle through their rhythm and duration as stylized ritual rather than through any oppositional conflict among psychological characters.” Godard, “Between Performative and Performance,” p. 344. 36 Linda Gaboriau, translator’s note in Lilies, or the Revival of a Romantic Drama, by Michel Marc Bouchard, trans. L. Gaboriau (Toronto: Coach House Press, 1990), p. 4. 37 Godard, “Between Performative and Performance,” p. 344. 38 Godard, “Between Performative and Performance,” p. 347. 39 The presence of quotation marks in these comments by Beauchamp and Knowles implies their recognition that fidelity to the playwright’s “voice” in such instances frequently equals a search for authorial intent—an approach to interpretation that, since the 1960s, has been devalued by literary and critical theorists to the point of dismissal. In the variety of theories floating in its wake, those that privilege the response of readers or, as Stanley Fish calls them, “interpretative communities,” hold the most relevance to contemporary theatrical practice (witness Susan Bennett’s useful study, Theatre Audiences: A Theory of Production and Reception). In most of these theories (collectively deemed reader-response theory), authorial intent is replaced by readers’ reactions, which, in turn, are determined by “competencies”—the capacities for interpretation that allow different groups of people to construct different sets of meanings , even of the same text. Fish’s notion that “interpretative communities are made up of those who share interpretative strategies not for reading (in the conventional sense) but for writing texts, for constituting their properties and assigning their intentions” illuminates the theatrical practice that Beauchamp and Knowles detail in their introduction. See Stanley Fish, Is There a Text in This Class? (Cambridge: Harvard University Press, 1980), p. 35; and Hélène Beauchamp and Ric Knowles, “Theatre and Translation,” p. 3. 40 Beauchamp and Knowles, “Theatre and Translation,” p. 4. 41 Robert, “The Language of Theatre,” p. 110. 42 Beauchamp and Knowles, “Theatre and Translation,” p. 4; emphasis in original. 43 Gaboriau, “The Cultures of Theatre,” p. 83. 44 Gaboriau, “A Servant of Two Masters,” p. 47. 45 Godard, “Between Performative and Performance,” p. 346. 46 Gaboriau, “A Servant of Two Masters,” p. 44. 47 Gaboriau, “A Servant of Two Masters,” p. 44. 304 LINDA GABORIAU BIBLIOGRAPHY I. Primary Sources Unpublished Translations (for Production) Barbeau, Jean. The Guys. Trans. Linda Gaboriau. Vancouver: Vancouver Playhouse, 1984. Bernard, Marielle. The White Raven. Trans. Linda Gaboriau. Montréal: Théâtre Sans Fil, 1979. Bombardier, Louise. Hippopotamus Tea. Trans. Linda Gaboriau. Toronto: Factory Theatre / Theatre Direct, 1992. Bouchard, Michel Marc. Desire. Trans. Linda Gaboriau. Knowlton: Théâtre Lac Brome, 1996. Canac-Marquis, Normand. Children of Urantia. Trans. Linda Gaboriau. Toronto: Interact 91, CEAD, and Factory Theatre, 1991. Dubois, René-Daniel. But It’s Springtime, Mr. Deslauriers. Trans. Linda Gaboriau. Toronto: Theatre Plus, 1989. ———. But Laura Didn’t Answer. Trans. Linda Gaboriau. Vancouver: CBC Radio, 1990. Garneau, Michel. Emilie. Trans. Linda Gaboriau. Montréal: CEAD, 1987. ———. Miss Red and the Wolves. Trans. Linda Gaboriau. Toronto: Factory Theatre, 1992. Gauthier, Gilles. I Am a Bear. Trans. Linda Gaboriau. Beloeil: Théâtre l’ArrièreScene , 1984. Hebert, Marie-Francine. Yes or No. Trans. Linda Gaboriau. Montréal: Théâtre de Carton, 1990. Herbiet, Hedwige. The Dandelion Days Are Over. Trans. Linda Gaboriau. Ottawa: Page to Stage, National Arts Centre, 1991. Lavigne, Louis-Dominique, and Daniel Meilleur. Parasols. Trans. Linda Gaboriau. Montréal: Théâtre de la Marmaille, 1998. Lepage, Robert. Vinci. Trans. Linda Gaboriau. Montréal: Théâtre de Quat’Sous, 1987–88. Major, Henriette. Dream Catchers. Trans. Linda Gaboriau. Montréal: Théâtre Sans Fil, 1992. ———. The Crown of Destiny. Trans. Linda Gaboriau. Montréal: Théâtre Sans Fil, 1995; Edinburgh: Edinburgh Children’s Festival, 1995. Pelletier, Pol. Joy. Trans. Linda Gaboriau. Toronto: Productions Pol Pelletier / Theatre Passe-Muraille, 1995. Theatre de l’Œil. Follow the Sun. Trans. Linda Gaboriau. Montréal: Théâtre de l’Œil, 1980. ———. See What You Can See. Trans. Linda Gaboriau. Montréal: Théâtre de l’Œi1,1984...

Share