GEORGE BELLIVEAU
From Around the World & at Home: Translations and Adaptations in Canadian Theatre, edited and compiled by Glen F. Nichols, is a welcomed reference document for theatre scholars and practitioners. After a brief introduction, Nichols lists over 3200 separate entries of translated plays (foreign or domestic) originally produced or published from other media for Canadian productions. The index to "Titles and Names" at the end of the catalogue makes it easy for the reader to access particular sources, and the abbreviation system utilized to note each entry is clear and concise. What is perhaps most striking when reading through the collection of entries is how many British and American plays have been translated in French for production and/or publication in Canada. Eighteen Shakespeare plays are listed as being translated or adapted for French-Canadian productions, and most of Neil Simon's, Arthur Miller's, Tennessee Williams', and David Mamet's stage plays have been translated in French for Canadian audiences. Per capita, French-Canadian playwrights (which consist primarily of Quebecois writers) develop and produce more plays than their English-Canadian counterparts, but this catalogue demonstrates how French-Canadian playwrights and translators are also adapting and translating numerous well-known English language classics. The reverse, however, is not necessarily true; aside from Molière and Michel Tremblay, few French language dramas are listed as being translated for English-Canadian productions. However, it is worth mentioning the numerous translations of Michel Marc Bouchard's Les Feluettes ou la Répétition d'un drame romantique and Michel Tremblay's Les Belles-Soeurs. Bouchard's poetic play is noted as being translated in seven different languages and Tremblay's classic in twelve languages, including the Scottish version.
To provide parameters to the catalogue of listings, Nichols has the year 1900 as the beginning date and the 1999-2000 season as the cut off date for the translations or adaptations in Canadian theatre. In a large reference document such as this one, omissions are inevitable; nonetheless, a few listings were not included that, to me, appear relevant. These include Robert Lepage and Gordon McCall's bilingual adaptation Romeo and Juliette for Shakespeare On The Saskatchewan, Wendy Lill's The Glace Bay Miners' Museum, and the various translations of Antonine Maillet's La Sagouine. The printing of the catalogue contains some flaws, with a few pages misplaced, which in one instance misleads the reader to think that the illustrator and writer Eric Carle wrote Alice in Wonderland, rather than Lewis Carroll. The beginning of Michel Tremblay's section is missing information due to printing problems, which is unfortunate because it no doubt holds important information. The printing process of this text is "on demand" and is new for Playwrights Canada Press; therefore, these printing problems may likely be rectified in future printings.
Nichols hopes that the extensive database may one day be available online. An on-line environment would facilitate cross-referencing and would offer multiple ways to categorize and organize the various genres of plays. For example, the large number of plays for youth that are adapted or translated is striking, and with an on-line database a separate section could be created for this genre of theatre. The numerous listings of youth theatre mark a very useful reference for public school educators across the country, especially those who teach in immersion or bilingual institutions where contemporary French dramas that are age appropriate for their students are limited. This research complements the work of Richard Plant and John Ball in Bibliography of Theatre History in Canada, in that it is building a much needed research database on Canadian theatre. By identifying numerous plays that have already been translated and listing who produced or published the texts, this catalogue may also be influential in extending the lives of Canadian plays. Companies in Vancouver, such as Pink Ink and Ruby Slippers, are committed to producing English translations and adaptations of Québécois plays, and other companies may follow suit with the help of this catalogue of existing translations. Maryse Warda's French translations of George Walker's Suburban Motel cycle for Théâtre de Quat'Sous mark a recent example, listed by Nichols, where translators are lengthening and expanding the life of some wonderful Canadian theatre pieces to another population. Only a few Canadian playwrights are enjoying international productions and translations of their work, yet, one hopes, this catalogue may foster more exposure to the ongoing work in adaptation and translation of Canadian theatre.