Are anglo theatre artists Québécois?
This commentary by Guy Sprung, artistic director of Infinithéâtre, appeared in the print edition of Le Devoir on Sept. 12 under the headline “Les artistes du théâtre en anglais sont-ils de vrais Québécois?” (Are English theatre artists real Québécois?) Its publication has prompted about two dozen comments on Le Devoir’s website and considerable discussion in the theatre community. Here is a translation of Sprung’s article.
Le Devoir and La Presse published their cultural calendars this fall without mentioning even one English-language theatre production in Quebec. In the May issue (titled “Répertoire québécois?”) of the outstanding Quebec theatre magazine Jeu, not a single English-language Quebec playwright or work is mentioned. Isn’t English-language theatre in Quebec “cultural” enough? Aren’t we Québécois?
The Quebec Drama Federation (QDF), a small organization that is vital to the survival of English-language theatre in this province, lists 19 established professional companies and 66 independent semi-professional groups. But apart from the large number of productions, it’s the originality, diversity and, more importantly, the quality of our theatre that would delight all of Quebec if only our existence was recognized.
Unfortunately, linguistic isolation makes the province’s English-language theatre creators invisible to francophones in Quebec and ignored by our colleagues who work in the language of Molière. We were born here, or we have lived here for most of our lives, and we have chosen Montreal instead of Toronto or the United States because this is our home sweet home, and we prefer the quality of life here over a more lucrative career outside Quebec. Yes, most who work in English-language theatre identify more with Montreal than the province of Quebec, but the majority of us are fiercely proud to be contributing to Quebec society. Most of us speak French and advocate for the French language and Bill 101, because we know that protecting the French language is essential to protecting Quebec’s unique identity. Also, French for us is a bit like the Great Wall of China, keeping out the barbarians who surround us. Some of us, like myself, have even dreamt of an independent Quebec that, in the spirit of René Lévesque, celebrates diversity and “les autres” and welcomes them into the “projet québécois.”
Infinithéâtre, for example, calls itself “le théâtre québécois in English.” We only produce plays by contemporary Quebec playwrights. How many francophone theatre companies in Quebec dare to do this much? Moreover, many of the set, costume and lighting designers we work with come from the francophone community. Rehearsals often take place in both languages; even our resident production designer at Infinithéâtre is from France.
One of our greatest strengths is being able to benefit from the diversity among theatre companies and artists who work in English in Quebec. But we are still “les anglos” to many — a categorization that most of us vigorously reject, referring as it does to the old Anglo-Saxon Protestant ruling class from Westmount instead of today’s reality.
Unfortunately, money reflects a society’s value system. Théâtre du Nouveau Monde, considered by some to be our national theatre, displays a proudly European esthetic, a theatre that’s whiter than white. As Quebec playwright Olivier Choinière mentioned in a letter published in the May 14 issue of Le Devoir, the TNM can mount a production of a play like Bertolt Brecht’s The Good Person of Szechwan featuring a cast of 18 actors without a single artist of colour on stage. In contrast, Teesri Duniya Theatre (“Third World” in Hindi) has been producing plays for more than 35 years in Quebec, primarily in English and led by an Asian Montrealer, and gives us theatre that reflects the people in the streets and on the Montreal métro. It represents the real new world of Quebec — a population that also pays their taxes, but will never cross the TNM threshold. The Conseil des arts et des lettres du Québec (CALQ) has just informed Teesri Duniya that they will not receive any operating grant money for their productions. The TNM, on the other hand, will receive $1.5 million each year for the next four years. Is there something that’s not right here?
What must we do to be accepted as Québécois? In a society where minorities are tragically killed in their place of worship, is it not possible that theatre could play a rather important role in bridging Quebec’s solitudes? And why wouldn’t it benefit all of Quebec society to do so?
The QDF, the aforementioned organization that promotes English-language theatre in Quebec, has also just been informed that the CALQ will be withdrawing its financial support. Meanwhile, the Association québécoise des marionnettistes will receive $26,250 each year for the next four years. Are we not as important as puppets to Quebec society?
I agree with Olivier Choinière in his May letter: an urgent update of the situation is needed.