Le Prix Patrick O'Neill Award

The O’Neill award will be given each year to the best edited collection published in either English or French on a Canadian theatre and performance topic. The award is given in alternate years to a play anthology (odd years) and an essay collection (even years). Collections from the previous two years are eligible in each cycle.

Le prix Patrick O’Neill récompense chaque année le meilleur ouvrage collectif traitant de théâtre ou de performance au Canada et publié en français ou en anglais. Le prix est attribué en alternance soit à un recueil de pièces (années impaires), soit à un recueil d’articles (années paires). Les ouvrages des deux années précédentes sont admissibles au prix.

2016 Honorable Mention: David Dean, Yana Meerzon et Kathryn Prince (eds.), History, Memory, and Performance. Basingstoke : Palgrave MacMillan, 2015.

With an editorial vision and contributions spanning from Mother Courage to Regurgitophagy, and from go to dance theory, the collection breaks new ground between performance studies, history, and theatre. It should become a valuable touchstone for future scholars of history, historiography, and theatre and performance studies. In Moira’s words, “No buts, ifs or ands – this is a tour de force.”

De par sa direction éditoriale et ses articles couvrant de Mère Courage à Regurgitophagy, de go à la théorie de la danse, le recueil ouvre de nouvelles voies entre les arts de la scène, l’histoire et le théâtre. Ce livre devrait devenir une référence de choix pour les chercheurs en histoire, en historiographie, de même qu’en études théâtrales et performatives. Aux dires de Moira, « pas de mais, pas de si ni de et, un véritable tour de force ».

2016 Winner: Jan Selman and Jane Heather. Theatre, Teens, Sex Ed: Are We There Yet. Edmonton: University of Alberta Press, 2015.

The participatory theatre piece around which Theatre, Teens, Sex Ed is arranged, titled Are We There Yet?, has had a widespread and meaningful effect across Canada in urban centres, rural towns, and first nations. This polyvocal anthology features the voices of theatre and education scholars, popular theatre practitioners, health educators, and the many groups of touring actors who facilitated the project over the decade that it ran. All are heard in formal papers, interviews, a manifesto, a script, and how-to contributions. Importantly, the voices of select teen participants also appear in anonymous chapter epigrams and appendices. A lot of care and thought has been put into the editorial apparatus of this book, from the organizational principle to the accompanying DVD that features extraordinary footage of the performances themselves as well as interviews and commentary from the producers, directors, and actors who animated Are We There Yet? and from the participating teens themselves.

In all, this collection represents the best of socially relevant, social action theatre—the best of theatre that directly impacts our communities, our schools, and our children. Are We There Yet? has, with little fear of hyperbole, reimagined how sex education can, even should, be presented. Along with Jan Selman and Jane Heather, the project’s originators, Edmonton’s Concrete Theatre and Options Sexual Health Association (previously named Planned Parenthood Association of Edmonton), are responsible for the project’s vision and extraordinary impact.

The collection itself represents a SSHRC-funded assessment of the project, providing evidence of the all-important self-reflexivity that pervades these pages and those performances. It will, no doubt, inspire future educators to emulate Are We There Yet? Indeed, the collection may inspire future theatre anthologies to aim to include material diversity.

Cette anthologie polyphonique présente les voix de chercheurs en théâtre et en enseignement, de praticiens connus du théâtre, d’éducateurs sanitaires et de nombreux groupes d’acteurs de tournée qui ont contribué au projet durant la décennie qu’il a duré. Ce recueil représente le meilleur en fait de pertinence sociale, de théâtre d’action sociale touchant directement les collectivités, les écoles et les enfants. Fait important, la parole de quelques adolescents se fait entendre tout au long du recueil. Le texte Are We There Yet? redéfinit comment l’éducation sexuelle, peut, voire devrait, être présentée. Le livre lui-même est une concrétisation, financée par le CRSH, du projet théâtral et met en évidence toute l’importance de l’introspection ayant imprégné tant les performances que les pages du recueil

 

2015 - Natalie Alvarez, ed. Fronteras Vivientes: Eight Latino/a Canadian Plays. Toronto: Playwrights Canada, 2013.

2014 - Natalie Alvarez, ed. Latina/o: Canadian Theatre and Performance. Toronto: Playwrights Canada, 2013.

2014 - (Honorable Mention) Roberta Barker and Kim Solga, eds. New Canadian Realisms: New Essays on Canadian Theatre. Toronto: Playwrights Canada, 2012.

2014 - (Honorable Mention) Judith Rudakoff, ed. TRANS(per)FORMING Nina Arsenault: An Unreasonable Body of Work. Intellect, 2012.

2013 - Roberta Barker and Kim Solga, eds. New Canadian Realisms: Eight Plays. Toronto: Playwrights Canada, 2012.

2013 - (Honorable mention) Kamal Al-Solaylee, ed. Tonight at the Tarragon: A Critic's Anthology. Toronto: Playwrights Canada, 2011.

2013 - (Honorable mention) Dennis Johnson, ed. Grassroots: Original Plays from Ontario Community Theatres. Toronto: Playwrights Canada, 2011.

2012 - Nina Lee Aquino and Ric Knowles, eds. Asian Canadian Theatre. Toronto: Playwrights Canada, 2011.

2011 - Louise Forsyth, ed. Anthology of Quebec Women’s Plays in English Translation. Vol III (1997-2009). Toronto: Playwrights Canada, 2010.

2011 - (Honourable Mention) André Bourassa, ed. La Trilogie inachevée. Montreal: L’instant scene, 2010.

2011 - (Honourable Mention) Cynthia Zimmerman, ed. Reading Carol Bolt.. Toronto: Playwrights Canada, 2010.