Richard Plant Award/ Le prix Richard Plant
Named in honour of the association’s co-founder and a prolific contributor to Canadian theatre scholarship, this award is given annually to the best English-language article on a Canadian theatre or performance topic.
Nommé en l’honneur d’un des cofondateurs de l’Association, ce prix est remis chaque année au meilleur article de langue anglaise traitant de théâtre ou de performance au Canada.
Deadline: January 2020. See here for more.
Magdalena Kazubowski-Houston. “quiet theater: The Radical Politics of Silence.” Cultural Studies / Critical Methodologies 18.6 (2018): 410-22.
Beautifully-written and evocatively argued, Kazubowski-Houston’s article movingly describes her research with Romani women living in Poland, and particularly her work with Randia, an elderly woman who devises and acts out scenarios with the author as a form of “imaginary ethnography.” Combining anthropological methods with techniques drawn from theatre and drama, the use of storytelling, characterization, and imagination in interviews reframes the ethnographic process as one that can “conjure up new ways of being, dreams, and desires, and shift focus toward what surfaces, sprouts, and promises.” Situating her own identity as a diasporic subject who moves, more-or-less freely but never without complication, between Canada and Poland, Kazubowski-Houston models a scholarship that makes space for deep personal investment while remaining rigorous in thought and tightly focused on the subjects with whom she works. Performing with Randia, letting the research subject determine the role played by the researcher, defines an ethical space in which “‘sitting quiet and listening’ […] might mean taking into consideration perspectives that might not easily align with our own Western scholarly training.” Arguing that even silence and discomfort can be generative places to conduct research that is both rigorous and creative, Kazubowski-Houston describes a radical form of “quiet theatre” that we would all do well to sit and listen to, and for which this important article strongly merits this year’s Richard Plant Award.
2019 Committee: Heather Fitzsimmons-Frey (Co-Chair), Justin Blum (Co-Chair), Kim Byrd
2018 (Honourable mention) Michelle Olson, “Heart of the Telling”
2015 - Roberta Barker. "The Gallant Invalid: The Stage Consumptive and the Making of a Canadian Myth" TRIC / RTAC 35.1 (2014)
2014 - VK Preston and Alanna Thain. "Tendering the Flesh: the ABCs of Dave St-Pierre's Contemporary Utopias" TDR 57.4 (2013)
2014 - (Honorable Mention) Ric Knowles and Jess Riley. "Aluna Theatre's Nohayquiensepa: The Intermedial Intercultural and the Limits of Empathy" Latina/o Canadian Theatre and Performance, Toronto: Playwrights Canada, 2013.
2013 - Natalie Alvarez. "Realisms of Redress: Alameda Theatre and the Formation of a Latina/o Canadian Theatre and Politics" New Canadian Realisms Toronto:Playwrights Canada, 2012.
2013 - Louis Patrick Leroux. “From langue to body — the quest for the ‘real’ in Québécois theatre.”New Canadian Realisms Toronto: Playwrights Canada, 2012.
2012 - Glen Nichols. “Identity in Performance in Carol Shields’s Stage Plays” West-Words: Celebrating Western Canadian Theatre and Playwrighting.
2012 - (Honorable Mention) Christine Kim. “Performing Asian Canadian Intimacy: Theatre Replacement’s Bioboxes and Awkward Multiculturalism” Asian Canadian Theatre. Toronto: Playwrights Canada, 2011.
2011 - Barry Freeman. “Navigating the Prague-Toronto-Manitoulin Theatre Project: A Postmodern Ethnographic Approach to Collaborative Intercultural Theatre.”TRIC 30.1-2 (2009): 58-81.
2011 - Yana Meerzon. “The Exilic Teens: On the Intracultural Encounters in Wajdi Mouawad’s Theatre.”TRIC 30.1-2 (2009): 82-110.
2010 - Laura Levin. “Can the City Speak? Site-Specific Art After Poststructuralism.”Performance and the City. Eds. D.J. Hopkins, Shelley Orr and Kim Solga. London: Palgrave, 2009.
2009 - Kim Solga. “The Line, The Crack, and the Possibility of Architecture: Figure, Ground, Feminist Performance.” TRiC 29.1 (Spring 2008).
2009 - (Honourable mention) Julie Salverson. “Taking liberties: a theatre class of foolish witnesses.” Research in Drama Education 13.2 (June 2008).
2008 - Jennifer Drouin, “Daughters of the Carnivalized Nation in Jean-Pierre Ronfard’s Shakespearean Adaptations Lear and Vie et mort du Roi Boiteux.” TRIC 27.1 (2006).
2007 - Marlis Schweitzer. “Stepping on Stiletto: Kaleidoscope, CAPP, and Controversy.” TRIC 25. 1-2 (2004): 24-42
2007 - (Honourable mention) Jenn Stephenson. “Metatheatre and Authentication through Metonymic Compression in John Mighton’s Possible Worlds.” Theatre Journal 58.1 (March 2006): 73-93.
2006 - Rob Appleford, “Daniel David Moses: A Ghostwriter with a Vengeance,” Aboriginal Drama and Theatre, ed. Rob Appleford. Toronto: Playwrights Canada Press, 2005. 150-65.
2005 - Helen Gilbert, “Black and White and Re(a)d All Over Again: Indigenous Minstrelsy in Contemporary Canadian and Australian Theatre,” Theatre Journal 55 (2003): 679-98.
2004 - Denis Salter, “Between Wor(l)ds: LEpage’s Shakespeare Cycle,” Joseph L. Donohoe and Jane Koustas, eds. Theatre sans frontières: Essays on the Dramatic Universe of Robert Lepage. East Lansing: Michigan State UP, 2000. 191-204.
2003 - Sherrill Grace, “Creating the Girl from God’s Country: Nell Shipman and Sharon Pollock,” Canadian Literature 172 (2002): 98-117.
2002 - Patricia Badir, “‘So entirely unexpected’: The Modernist Dramaturgy of Marjorie Pickthall’s The Wood-Carver’s Wife,” Modern Drama 43.2 (Summer 2000).
2001 - Margaret Groome, “Affirmative Shakespeare at Canada’s Stratford Festival,” Essays in Theatre 17.2 (May 1999): 139-64.
2000 - Denis Salter, “Hector Willoughby Charlesworth and the Nationalization of Cultural Authority, 1890 – 1945,” Establishing Our Boundaries: English-Canadian Theatre Criticism, ed. Anton Wagner. Toronto: University of Toronto Press, 1999.
1999 - Jonathan Rittenhouse, “‘Our Granada’: The Granada Theatre, Wellington Street, Sherbrooke, Quebec, Canada, America, the World and Me.” TRIC/RTC 18.2 (Fall 1997): 148-166.
1998 - Robert Nunn, “”Flickering Lights and Declaiming Bodies: Semiosis in Film and Theatre,”TRIC/RTC 17.2 (Fall 1996): 147-159.
1997 - Alan Filewod, “The Comintern and the Canon: Workers’ Theatre, Eight Men Speak and the Genealogy of Mise en scène,” Australasian Drama Studies 29 (Oct. 1996): 17-32.
1996 Not awarded this year.
1995 - Jennifer Harvie & Ric Knowles, “Dialogic Monologue: a Dialogue” TRIC/RTC 15 (Fall 1994):136-163;
1995 - Patrick O’Neill, “The Impact of Copyright Legislation Upon the Publication of Sheet Music in Canada, Prior to 1924,” The Journal of Canadian Studies 28.3 (Fall 1993): 105-22.
1994 - Sheila Rabillard, “Absorption, Elimination, and the Hybrid: Some Impure Questions of Gender and Culture in the Trickster Drama of Tomson Highway,” Essays in Theatre/Études théâtrales 12.1 (Nov. 1993), 3-27.
1993 - Ric Knowles, “The Dramaturgy of the Perverse,” Theatre Research International 17.3: 226-35
1992 - Robert Nunn, “Canada Incognita: Has Quebec Theatre Discovered English-Canadian Plays?” Theatrum 24: 15-19.
1991 - Manina Jones, “The Collage in Motion: Staging the Documentary in Reaney’s Sticks and Stones,” Canadian Drama 16.1 (1989): 1-23.
1990 - Alan Filewod, “Erasing Historical Difference: The Alternative Orthodoxy in Canadian Theatre,” Theatre Journal 41.2 (May 1989): 201-21.
1989 - Ric Knowles, “The Legacy of the Festival Stage,” CTR 54 (Spring 1988): 39-45.