Direct audience address in Cliff Cardinal’s Huff: Complicity, powerlessness, and sovereignty

Authors

  • Signy Lynch

DOI:

https://doi.org/10.25071/5nf3yr32

Author Biography

  • Signy Lynch

    Signy Lynch is working on her PhD in the Department of Theatre and Performance Studies at York  Univeristy. Her research investigates how direct audience address in contemporary performance can help 
    audience members and performers to negotiate the complexities of inhabiting a 21st-century globalized Canada. 

References

Cardinal, Cliff. (2017). Huff. Toronto, ON: Playwrights Canada Press.

Carter, Jill. (2015). Discarding sympathy, disrupting catharsis: The mortification of Indigenous flesh as survivance-intervention. Theatre Journal, 67(3), 413-432.

Lehmann, Hans-Thies. (2006). Postdramatic theatre. London, UK and New York, NY: Routledge.

Olson, Michelle. (2016). She begins to move. In Ric Knowles and Yvette Nolan (Eds.), Performing indigeneity: New essays on Canadian theatre pp. 271-283). Toronto, ON: Playwrights Canada Press.

States, Bert O. (1985). Great reckonings in little rooms: On the phenomenology of theater. Berkeley, CA: University of California Press.

Tompkins, Joanne. (2012). Theatre’s heterotopia and the site-specific production of “Suitcase.” TDR: The Drama Review, 56(2), 101-112.

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Published

2018-08-31

Issue

Summer 2018: Transgressing the nation-state: Constructs of Canadian identity

Section

Article

License

While the Robarts Centre has the copyright for all Canada Watch issues and editorial materials, the rights of each piece reside with the author (currently under a Creative Commons license). This has been the practice of the Centre since 1992.

 

How to Cite

Direct audience address in Cliff Cardinal’s Huff: Complicity, powerlessness, and sovereignty. (2018). Canada Watch. https://doi.org/10.25071/5nf3yr32