Louise Forsyth, Ed. Anthology of Quebec Women's Plays in English Translation Volume 1(1966-1986)
Notice bibliographique
Résumé
LOUISE FORSYTH, ed. Anthology of Quebec Women's Plays in English Translation Volume 1(1966-1986). Toronto: Playwrights Canada Press, 2006. 570pp. Anthology of Quebec Women's Plays in English Translation Volume II (1987-2003)' Toronto: Playwrights Canada Press, 2008. 380pp. The first two volumes of Louise Forsyth's Anthology of Quebec Women's Plays in English Translation represent a colossal accomplishment. Published by Playwrights Canada Press, this collection gathers together an important body of work, including several plays which have left their mark on the history of Quebec theatre, while studying it from a new perspective. How has women's theatre unfolded since the time it propelled its way onto Quebec stages with the audacious subject matter and aesthetic research it then exhibited up until recent years when it undertook to explore humanity's search for meaning? One of the major strengths of this work is the excellent introduction to both volumes wherein Forsyth extracts the main ideas from the selected plays and indicates where they meet, support one another, and create specific themes in a chorus of women's voices that has resonated for some forty years on Quebec stages. And she allows us to hear these voices in English, thus amplifying their resonance and extending their impact beyond the language of their original incarnation. Beside the introductions, in which Forsyth presents a sociocultural contextualization of Quebec during the period under study and points out the distinguishing features of theatre productions specific to women, she also provides an introduction to each play, including a detailed analysis of the issues specific to each one, followed by information about the author, a list of selected works and bibliographical suggestions. Thus, with each play, we receive a veritable wealth of information on the author and her work. Each volume finishes with a substantial bibliography and a biographical note on the translators and the editor. Amongst the eighteen plays contained in the two volumes, Forsyth has translated two of them herself. For several of the plays, it is the first time they have been published in English. The first volume contains the following eleven plays, produced between 1966 and 1986: The Savage Season (Le Temps sauvage) by Anne Hebert, translated by Pamela Grant and Gregory Reid; Playing Double (Double jeu) by Francoise Loranger, translated by Louise H. Forsyth; Mine Sincerely (Bien a moi) by Marie Savard, translated by Louise H. Forsyth; Evangeline the Second (Evangeline deusse) by New Brunswick Acadian author Antonine Maillet, translated by Luis de Cespedes; The Ocean (L'Ocean) by Marie-Claire Blais, translated by Ray Chamberlain; A Clash of Symbols (La Nef des sorcieres) by Marthe Blackburn, Marie-Claire Blais, Nicole Brossard, Odette Gagnon, Luce Guilbeault, Pol Pelletier, France Theoret, translated by Linda Gaboriau; The Fairies Are Thirsty (Les Fees ont soif) by Denise Boucher, translated by Alan Brown; Mommy (Moman) by Louisette Dussault, translated by Linda Gaboriau; The Edge of Earth Is Too Near, Violette Leduc (La Terre est trop courte, Violette Leduc) by Jovette Marchessault, translated by Susanne de Lotbiniere-Harwood; Night (L'Homme gris) by Marie Laberge, translated by Rina Fraticelli; and Marie-Antoine, Opus One (Marie-Antoine, Opus 1) by Lise Vaillancourt, translated by Jill MacDougall. According to Forsyth, these plays, created while developing a feminist consciousness and discourse, attempt to present a dialogue for which there was as yet no model. Thus, they largely resorted to the monologue because communication fails to occur between the interlocutors. Rejecting the status quo, the creators explore new aesthetics that highlight performance and experimentation. The favoured themes are often those where patriarchal influence is felt the most strongly, ie. maternity, mother-daughter relationships and women's sexuality. …
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Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,002 |
| Méta-épidémiologie (sens strict) | 0,002 | 0,001 |
| Méta-épidémiologie (sens large) | 0,001 | 0,001 |
| Bibliométrie | 0,003 | 0,004 |
| Études des sciences et des technologies | 0,007 | 0,003 |
| Communication savante | 0,005 | 0,003 |
| Science ouverte | 0,002 | 0,001 |
| Intégrité de la recherche | 0,002 | 0,002 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,071 | 0,019 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».