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language and therefore remain verbally underdeveloped. Still others, like George F. Walker, are unable to find the perfect relationship between language and theatre: namely, the point at which a brilliant metaphor loses its independence and becomes indispensable to the dramatic experience. If politeness is indeed the great Canadian virtue, then perhaps it is also our besetting theatrical sin. Imagine the Canadian Coriolanus just after he's been issued his marching papers by the people's representatives. What will he do? I doubt that he will bristle with contempt as he returns the indictment: 'I banish you!' Rather, I suspect that he will offer an apology, do his best to understand the validity of his opponents' position, and then give a full explanation of the motives for his own conduct. Such a defensive posture may be wise diplomatic procedure, but it is disastrous in drama. Genuine drama is impossible without conflict, because conflict is the material from which a plot can be made. Too many of our playwrights see conflict in abstract terms: the proletariat versus the establishment, the French versus the English, male versus female, or illusion versus reality. As a result, many of our plays are deficient in plot; what conflict there is has been superimposed and hence remains lifeless. Perhaps our habit of evading conflict is not based on simple cowardice, but rather on the conviction that the real battles are being fought elsewhere. At any rate, I shall continue to prefer those dramatists who are daring enough to exploit and provoke conflict, creatively, and who are ingenious enough to expose conflict where it really hurts and matters: somewhere, that is, within ourselves. Theatre GILLES GIRARD En 1980, I'ecart est plus marque encore que lors des annees precedentes, entre les pieces publiees et Ie theatre represente. Ce dernier eelate dans toutes les directions, se diversifie, pietine dans certains themes mais se renouvelle formellement, constitue au total Ie mouvement culturelle plus actif et mobilisateur, Ie plus en prise sur I'identite nationale au debut des annees quatre-vingts, role deja assume precedemment par la chanson. Mais Ie monde de I'edition ne rend pas compte, loin de la, de toute cette activite tMatrale. (Ced s'explique, entre bien d'autres facteurs, par la fermeture pour des raisons financieres, d'un des editeurs les plus audacieux: les editions VLB. Heureusement que la maison de Victor-Levy Beaulieu a refait surface en toute fin d'annee). Les caprices de I'edition nous valent cette annee des etudes sur Ie theatre, evidemment des pieces de la production courante mais aussi d'heureuses plongees dans Ie passe avec une anthologie remontant a1890 et des textes des annees quarante, contributions importantes dans la remise a jour du corpus theatral quebecois. Gratien Gelinas, ou est-ce encore une espieglerie de Fridolin, nous aura fait patienter trente-cinq ans avant de livrer ses Fridolinades au monde de l'edition. Voulant souligner la filiation entre Fridolin etTit-Coq, Gelinas et les Quinze publient les deux dernieres revues de la ribambelle des 'Fridolinons': Les Fridolinades, '945 el1946 (272). Tit-Coq pOinte dejille nez dans 'Le depart du conscrit' (1945) et surtout 'Le retour du conscrit' (1946). Trois autres volumes devraient completer sous peu cette parution iI rebours: '943 et '944, 1941 et '942, '938-'939-'94°. (Semblent exclus pour !'instant 'Les Fridolinades '56.') Fridolin, ce gavroche autochtone, emouvant et hilarant, aux culottes courtes mais ill'

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Additional Information

ISSN
1712-5278
Print ISSN
0042-0247
Pages
pp. 67-75
Launched on MUSE
2014-07-02
Open Access
No
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