Celebrating the Fransaskois Voice: <i>la nouvelle dramaturgie de La Troupe du Jour</i>
Bibliographic record
Abstract
Theatre for the Fransaskois Voice Following a theatre workshop offered by the Commission culturelle fransaskoise at College Mathieu in Gravelbourg during the summer of 1984, Alphonse Gaudet, Carmen Gareau, and Michel Quirion were inspired by Claudia Gendron (Gaudet, email 3 June) to establish a French theatre company in Saskatoon (Gaudet, email 15 June). Determined to develop a fransaskois theatre which highlighted self-exploration, self-definition, selfacceptance, and self-celebration, the three created La Troupe du Jour (LTDJ) in 1985. A devised piece, Azarie (October 1985) marked the debut of what was to become the company's focus on new play development. It repositioned the language debate in Saskatchewan by investigating the cultural marginalization of elderly Fransaskois in the provincial nursing-home system (Lusignan 7). The material hit a nerve with its public; the show became an instant success. Bypassing the repertories of Quebec and France, founding members became resolute in their endeavour to bring the fransaskois experience to their public. The first season's program announced their goals: [...] le reve est faire du theatre francophone, communautaire et professionnel, qui reflete la realite fransaskoise [...]. C'est par la creation et des representations textes fransaskois que la troupe espere developper un nouveau sens theatral dans la communaute francophone. (Qtd. in Forsyth 141) They incorporated LTDJ as a non-profit company in 1985 with Gaudet as its first artistic director. The time was ripe de passer a un theatre 'fait maison' qui serait le reflet du peuple fransaskois, sa langue, ses defis, ses mythes (Bonetto 3). This paper explores two questions. The first, What defines fransaskois playwrights?, draws attention to a binary feature I refer to as dis/bislocation and re-examines the notion of minority status as it applies to French-Canadians living outside Quebec. The second, How has LTDJ cultivated fransaskois playwriting?, examines the mechanisms LTDJ has instituted to develop new work since the arrival of Denis Rouleau. Dis/Bislocation of the Fransaskois Saskatchewan's first French settlers were a heterogeneous lot, hailing from Quebec, France, Belgium, and the United States (Beaulieu par. 25). (1) Linguistically compatible despite cultural differences, they merged into an unusual minority population due to extraordinary circumstances, as Roger A. Lalonde noted in 1974: Ces gens ont ete metamorphoses par l'experience l'expatriation, par les mesures repressives contre le francais et par tous les autres evenements survenus au cours leur histoire. Tous cela faisait d'eux des > (2). (Qtd. in Beaulieu par. 25) Settlers straddled two geographies, both there in linguistic expression and social customs, and here in practice, living and negotiating the tensions in the gap between the two. LTDJ's fransaskois playwrights follow this pattern: like the first settlers, linguistic compatibility and cultural hybridity are features they share. Geographically and culturally severed from the place where their French originated (dislocation), these individuals constantly negotiate two francophonies (bislocation), the formative one from the pays d'origine which is hors contexte in the geographical present, and the current one which dynamically lives and transforms in a Saskatchewan context. Unless a fransaskois playwright is a recent transplant from Quebec or has been assimilated into Quebec culture, joual plays an inconsequential role in the linguistic idiosyncrasies found in fransaskois plays. David Baudemont writes in an idiom particular to France, specifically to Alsace where German and French cohabit; Ian C. Nelson, a Francophile originating from Nottingham, England, has adopted an Ile-de-France French distinctively coloured by French argot; Madeleine BlaisDahlem and Raoul Granger incorporate certain spoken idiosyncrasies of quebecois in their writing, but belie their Quebec origins with a standard French that occasionally is encroached upon by English constructs, such as syntax, vocabulary, and colloquial expressions. …
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.009 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.001 |
| Science and technology studies | 0.003 | 0.002 |
| Scholarly communication | 0.001 | 0.000 |
| Open science | 0.001 | 0.000 |
| Research integrity | 0.000 | 0.002 |
| Insufficient payload (model declined to judge) | 0.002 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".