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Canadian Aboriginal Theater, Reaction Paper Example

Pages: 2

Words: 476

Reaction Paper

Theater presentations are understood as critical parts of social literature and drama. It could be realized that through time, theater art has already taken different faces and somehow, this is the reason why this form of art is assumed to define the development of presentation art in most cultures. In Canada, aboriginal theater is already making a comeback and somehow, this type of presentation in the community provides a definite term of recreating the past and making it more visually imaginative for the present generation of audiences.

Noticeably, one of the primary characteristics that redefine the Canadian Aboriginal Theater is the emergence of spiritual theme that basically identifies well with the whole story that the narratives aim to give attention to. Dance, songs and other artistic additives are also inserted into the story plots to increase the entertaining factor that identifies well with the theater presentation. While other theater forms also take the same characterization, the artistic additives in the presentation are bounded on cultural backgrounds that are able to give more than just a definite form of visual indication of traditions.

Accordingly, the Canadian Aboriginal Theater is noted for its capacity to bring the audience into a new dimension through distinct imagination. The use of different cultural elements directly imply a definite course of insistence on how the past is actually able to reconnect the current generation with the older generations that lived in the country. Establishing a better sense of what the value of the past is about, the Canadian Aboriginal Theater is likely able to make a definite impact on how the future of the Canadian theater is likely going to look like.

Works Cited

Taylor, Drew Hayden. Storytelling to Stage: The Growth of Native Theatre in Canada. TDR. Vol. 41, No. 3 (Autumm, 1997), pp. 140-152. (Jstor)

Carter, Jill. Chocolate Woman Visions an Organic Dramaturgy: Blocking-Notation for the Indigenous Soul 2008 (Moodle)

Filewod, Alan.  Receiving Aboriginality: Tomson Highway and the Crisis of Cultural Authenticity. Theatre Journal, Vol. 46, No. 3, Colonial/Postcolonial Theatre (Oct., 1994), pp. 363- 373 (Jstor)

Burt, Daniel S. 2008. The Drama 100: A Ranking of the Greatest Plays of All Time. New York: Facts on File.

Carlson, Marvin. 1993. Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present. Expanded ed. Ithaca and London: Cornell UP.

Carnicke, Sharon M. 1998. Stanislavsky in Focus. Russian Theatre Archive Ser. London: Harwood Academic Publishers.

Spolin, Viola. 1997. Improvisation for the Theater. Third rev. ed Evanston, Il.: Northwestern University Press, 1999.

Taxidou, Olga. 2004. Tragedy, Modernity and Mourning. Edinburgh: Edinburgh UP.

Ward, A. C. 1995. Specimens of English Dramatic Criticism XVII-XX Centuries. The World’s Classics ser. Oxford: Oxford UP, 2007.

Williams, Raymond. 1966. Modern Tragedy. London: Chatto & Windus.

Counsell, Colin. 1996. Signs of Performance: An Introduction to Twentieth-Century Theatre. London and New York: Routledge.

Dukore, Bernard F., ed. 2001. Dramatic Theory and Criticism: Greeks to Grotowski. Florence, KY: Heinle & Heinle.

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