THE PROBLEMATICS OF RESEARCH ON REGIONAL THEATRE CONDUCTED IN REMOTE AREAS¹

JEAN-GUY CÔTÉ, MARIE-CLAUDE LECLERCQ AND CLAUDE LIZÉ

Dans cette communication présentée au Congrès des Sociétés savantes (colloque de l'Association d'histoire du théâtre au Canada) en mai 1991, le Groupe de recherche sur le théâtre en Abitibi-Témiscamingue répond à trois questions concernant la problématique de la recherche en région sur le théâtre régional: qu'est-ce que le théâtre régional? d'où origine le discours sur le théâtre régional? et où mènent ces recherches? Pour répondre à ces questions il faut tenir compte de facteurs géographiques, tel celui de la distance par rapport aux grands centres urbains où se concentrent l'activité théâtrale et la recherche sur le théatre; mais il faut surtout tenir compte de certains facteurs institutionnels qui bloquent la reconnaissance du rôle des pratiques marginales autant que marginalisées (théâtre amateur, théâtre régional...) dans la constitution de l'Institution elle-même.

In this paper, delivered to the Association for Canadian Theatre History during the Learned Societies Conference in May 1991, the Groupe de Recherche sur le Théâtre en Abitibi-Témiscamingue seeks to answer three questions concerning the problems posed by research on regional theatre conducted in remote areas: What is 'regional theatre'? Where does the current debate on the status of regional theatre originate? In what direction does this research appear to be heading? The answers to these questions must obviously take into account geographical factors such as the distance from major urban centres where theatrical activity, and research on that activity, are concentrated. But there are other factors as well, notably institutionalizing factors which militate against proper recognition of the role played by 'marginal'--as well as 'marginalized'--activity (amateur theatre, regional theatre, etc.) in the definition of the theatrical Institution itself.

In May 1991, the Groupe de Recherche sur le Théâtre en Abitibi-Témiscamingue participated in a symposium held during the Learned Societies Conference in Kingston by the Association for Canadian Theatre History/Association d'histoire du théâtre au Canada. We take this opportunity to express our gratitude towards the organizing committee for inviting us to take part in this event, which proved to be most stimulating and profitable.

This paper is based on our presentation at the symposium. It defines the object of our research, describes the group's point of view, and provides some significant results of our work. It also focuses on the problematics of conducting research on regional theatre in a remote area like Abitibi Témiscamingue. Thus we shall address questions such as What do we do? Who are we? Where do we work?

WHAT DO WE DO?

The subject of this paper is theatre in Abitibi-Témiscamingue. But where is Abitibi-Témiscamingue? Is there theatrical life in that region? Is it worth mentioning?

Three questions that constitute as many ways to create a diversion from our topic. The object of our research raises several problems indeed, since theatre in Abitibi-Témiscamingue is non-existent, according to the Theatrical Institution.² Reality, however, proves otherwise.

The beginnings of the Groupe de Recherche sur le Théâtre en Abitibi-Térniscamingue go back to 1987. At that time we approached various subsidizing organizations, including the Social Sciences and Humanities Research Council of Canada in Ottawa. Despite the fact that outside appraisers recommended that our project be subsidized, SSHRC, after acknowledging the quality of our presentation, the relevance of our objectives, the competence of our team, and the rigour of our methodology, rejected our request. (Fortunately, funds were available from other sources.) Shortly after SSHRC's refusal the above questions were raised during a telephone conversation with the officer in charge of the examining committee, who suggested that we submit a second request the following year with supporting documentation such as statistics on theatrical companies, performances, audiences, theatres, etc. If our request had originated in a large, famous city like Toronto or Montreal, would the comments have been the same?

We do not question your competence ... Your project is interesting, indeed, and your objectives are clearly defined ... but is it a fact that theatre exists in your town? You mean native theatre, of course. Well, we still need convincing data ... We'll be glad to help, but prove it first. Thank you! ... Goodbye!

Quite unlikely?

The object of our research remains to be defined once-before, even the difficult task of providing evidence is completed. The odds are that our definition would not apply to a metropolitan context, nor correspond to the Theatrical Institution's definition. Nevertheless, let us embark on the perilous adventure of providing a definition for regional theatre.

It is public knowledge-must we repeat it again?-that local, regional, national and international theatre have no geographical frontiers.³ It is also public knowledge that every single theatre is local: plays are performed in specific theatres, on specific streets, in specific towns. Reference to geographical qualities is rather symbolic. In fact, they reflect the influence, recognition and consecration of plays.

A play staged in Rouyn-Noranda stands little chance of being recognized, of existing elsewhere, compared to one staged in Montréal. Critics live in Montréal. National papers are published in Montréal. Erudite studies on theatre are conducted in Montréal, etc. In that context, what is regional theatre if not a theatre confined within the limits of a specific region? As soon as it extends beyond those limits, it either becomes national⁴ or returns to the regional scene on the pretence that its themes are too 'local' or its aesthetics valueless. Qualifiers like 'regional','national' or 'international' are a means to pass value judgements⁵ by pretending to deal with geography.

What if we approach the matter differently and give a true geographical sense to regional theatre? It would then include all theatrical performances within a said region. Such a definition bears no prejudice as to the nature, merits and demerits of regional theatre, but suggests rather that amateur and professional companies from the region and outside, performing on stage, radio or television, fall into the category of regional theatre. If the role played by the Théâtre Populaire du Québec (TPQ) must be left out of regional theatre, then the story of Québécois repertoire would have to expurgate foreign theatricals and Sarah Bernhardt's tours. A comparison between regions will lead us to the conclusion that Montréal is privileged in terms of variety and resources. Its cultural influence on other regions and on the international scene is matchless, compared to that of any other region in Québec. Nevertheless, the history of Montréal's theatre is nothing but the history of a regional theatre.

Regional theatre can also be defined as theatre produced by regional producers, i.e., produced in a region. The Théâtre Repère or Parminou would therefore qualify. Obviously, that definition is rather simplistic. It would make the likes of Marie Laberge, Jeanne-Mance Delisle, Michel-Marc Bouchard regional, 'native' writers because of their origin.

In light of the above, the general sense given to regional theatre is theatre produced in specific regions that has little likelihood of extending beyond regional limits-our first definition. Therefore, a regional product that gains recognition within the Theatrical Institution automatically loses its regional label. National theatre gets the credit over regional theatre. Regional theatre is left with the regional productions considered by the national theatre to be unworthy of climbing up the scale. It thus becomes a second-class theatre geographically, aesthetically and institutionally speaking, because it is constantly stripped of its best productions.

Which definition should we choose, then? The one that carries the broadest meaning and seems less prejudicial, the one that analyzes and describes reality best. Therefore regional theatre should be defined as the overall theatrical activity within a specific context, with no exclusions, although it may be useful to make distinctions as required.

The notion of regional theatre would include local amateur and professional producers, local producers who present their shows in other regions, and producers from other regions bringing their shows into different regions, etc. Regions cannot be cut off from the outside world; regions are crossroads, dynamic forums. Only such a notion of the words 'region' and 'regional theatre' can bring out the influence of a company like the TPQ on regional theatre, and that of regional theatre on the TPQ.

The Groupe de recherche sur le théâtre en Abitibi-Témiscamingue chose that vision. It led them to amazing results. Various conclusions were reached and the following examples illustrate how productive our definition is. Our conclusions are two-fold: theoretical and factual.

THEORETICAL CONCLUSIONS⁶

The theory of Literary Institution was developed to explain specific literary phenomena that occurred in France in the 19th century. Needless to say, such a particular context was irrelevant for the purpose of our research on theatre in Abitibi-Témiscamingue in 1991. The theory had to be adapted. As opposed to traditional literary analysis and critical methods, the theory of Institution is not based on aesthetic criteria or on a priori criteria that depreciate the marginal or marginalized forms of literary production before they are made known. For this reason, and for many others that would be otiose to explain here, the theory of Institution enabled us to study a topic so far neglected by national researchers: theatre in Abitibi-Témiscamingue. In the process we also made a few discoveries concerning the Theatrical Institution.

In the various fields of production, for instance, the specialization of authors, actors, companies, technicians, and other agents are considered discrete-although obviously interdependent-phenomena, as are those of the differing types and styles of productions themselves. But it has never been explained how, in a non-metropolitan context, the Theatrical Institution compelled such agents to act antinomically-i.e., against specialization-while claiming that it is a desirable but inaccessible process. Therefore companies in the Abitibi-Témiscamingue area wishing to present original plays or works chosen from repertory cannot afford to do without summer theatre, which has shown itself to be a prosperous venture everywhere. Fortunately, the regional stage is not occupied by Montréal actors on vacation, but rather by regional actors and companies. Frontiers between the various fields of production can be crossed more easily in regions than in metropolises.

As far as the theory of Institution is concerned, these phenomena may seem contradictory. Even if theorizing the Institution was not meant to apprehend such phenomena in the first place, it has contributed toward drafting a thoughtful description. The merits of using the theory of Institution are not restricted to developing a description from metropolitan literary and theatrical life, or consecrating a work. In fact, not only are masterpieces explained but works considered to be failures are required by the Institution as well.⁷ However, the theory of Institution used in this manner constitutes a deviation from its original objectives.

FACTUAL CONCLUSIONS⁸

The Groupe de recherche sur le théâtre en Abitibi-Témiscamingue has improved its knowledge of the role of regional theatre. The following facts illustrate our findings:

1. Finding a repertoire

It is proven that several plays performed by regional companies are later discovered by national theatre. Plays written by Michel Tremblay, Jean Barbeau, Serge Sirois, Jeann-Mance Delisle, Margo Lemire were first created in Amos, Val-d'Or, and Rouyn-Noranda, but dictionaries and repertories seldom associate them with regional theatre. Un oiseau vivant dans la gueule by Delisle is a fine example. The play was premiered in 1987 by the Théâtre de Coppe in Rouyn-Noranda and performed at the Théâtre de Cuivre. Surprisingly, a Montréal critic managed to turn it into a Montréal creation when it was played at the Théâtre de Quat'sous in the winter of 1990. A play has only one première. It shows how little credit is given to regional theatre for being innovative in forming a repertoire, particularly where amateur regional theatre is concerned

2. Initiating the audience

Regional theatre played an important role in initiating the Québécois to theatre. Québécois theatre emerged regionally in the 1960s through 'marginal' companies, institutionally speaking. While national companies staged classical and 'international' plays on tour, regional companies would lay the foundations of Québécois theatre by including Québécois plays in their repertoire. In the seventies, the interest shown by institutional companies for Québécois work had nothing to do with avant-gardisme, but rather with pressure exerted by a public which wished to recognize itself in characters portrayed on stage. Even the government asked those companies to include Québécois theatre in their repertoire. Regional theatre and amateur theatre have always been close to their audiences.

3. Decentralizing the Professional Theatre Practice

Regional theatre has contributed and contributes more and more to the decentralization process of professional theatre practice. A few regional companies aim at and reach professional practice. Audiences and theatrical agents are now connected with the outside world and have become increasingly demanding in terms of quality in the plays they see and create. Although current material conditions do not help regional theatre to reach higher quality standards, the regionalization policies of the Ministry of Cultural Affairs (MAC) aroused hopes and made the carrying out of projects easier-at least back in the seventies and eighties. Those policies are now jeopardized by the economic crisis at various government levels. The criteria for eligibility for grants from the MAC are now more restrictive and correspond to metropolitan contexts better than to regional. In other words, cutbacks are likely to hit the regions first. Montréal will not get more funds, so regions will get less.

The degree of individual motivation, the efficiency of the structures established by members of artistic circles and the support provided by the public and the regional community are now more than ever the keys to success. These same requirements also apply to national productions staged on tours.

We would prefer not to extrapolate further from the results of our research. They are based on historical and statistical facts observed for Abitibi-Témiscamingue,⁹ and are sufficiently supported to give full credibility to our definition.

THE PROBLEMATICS

The above facts relating to regional theatre or theatre from a specific region, modest theoretical developments on the functioning of the Québec Theatrical Institution, or the use of the theory of Literary Institution adapted for the purpose of our research, all share close dialectic links.

Who are we?

Before getting to the heart of the subject, we wish to devote a few words to the people who dare to attribute a role to this type of theatre-perceived by others as worthy of little interest-; who go so far as to claim that it contributes to the history of national theatre and literary theory; to those whose interest in Québec's regional theatrical activities drives them to study the functioning and history of regional theatre. These people work in the province's universities and CEGEPs (general and vocational colleges).

The Groupe de Recherche sur le Théâtre en Abitibi-Témiscamingue is located at the Cégep de l'Abitibi-Témiscamingue. Research on theatre can only be conducted from there, since literature and theatre are programmes that are not offered by the Université du Québec en Abitibi-Témiscamingue, situated in Rouyn-Noranda. Therefore we stand at the bottom level of the fundamental research scale, the mission of CEGEPs being education, not fundamental research.

Research activities can be carried out in CEGEPs, but preference is given to research on education, where support programmes are particularly involved. The FCAR (Fonds pour la formation de chercheurs et l'aide à la recherche), for one, is an emerging programme intended to give CEGEP researchers an opportunity to prove their competence and give them access to scientific research networks. In her speech to the members of the Fédération des Cégeps at a general assembly on 21 February 1991, Quebec's Ministre de l'Enseignement supérieur et de la Science, Mme Lucienne Robillard, announced that the programme would be replaced by making the FCAR's basic programmes accessible to CEGEP researchers. According to the Minister, the transfer would encourage creation of research teams in and among CEGEPs, and between CEGEPs and universities. The geographical factor does not work in our favour: How can we seriously consider teaming up with university teachers if we are separated by a distance of more than 600 kilometers (375 miles)?

On the federal level, have we not discovered-twice-that SSHRC provides financial assistance to university research only, despite very favourable assessments of our project by specialists from outside SSHRC? We do not wish to dispute whether SSHRC should or should not support university research only, since funds allocated to research, including university research, are definitely too limited.

Where do we work?

The Groupe de recherche sur le théâtre en Abitibi-Témiscamingue is established in a post-secondary institution where researchers must redouble their efforts to prove they can see their research projects through to a successful conclusion. Remember-they were not hired to carry out research, but strictly to teach!

Once again, reference is made to geographical factors. The subject of our research being theatrical activity in Abitibi-Témiscamingue, it is obviously convenient to be as close as possible to that activity.

But what is the essence of your research? Honestly, does theatre exist in Abitibi-Témiscamingue? You mean native theatre, don't you? Perhaps it is only some sort of performance that bears enough aesthetic resemblance to theatrical activity so as to call it 'theatre'?

Those are questions addressed to us regularly. Who, besides us, can tell about theatre in Abitibi-Témiscamingue? Montréal, Québec, Toronto or Ottawa would never do so, or quite exceptionally. The history of theatrical activities in Abitibi-Témiscamingue, the Gaspé Peninsula, New Brunswick or Alberta would never be studied in Montréal, Québec, Toronto or Ottawa. They are simply not topics of 'interest' there.

But is it really a matter of geography? Wouldn't it rather be that our educational institution-whether we refer to CEGEPs or universities, located in metropolises or provinces-within the Theatrical Institution confers a different value on the object of our study? In fact, we are faced with the hierarchical function innate in every debate on institutionalization. We do not know of any Montréal university researchers (our example is limited to the Province of Québec) who would personally be interested in the history of regional theatre to the extent of carrying out research on the subject. That research is conducted by academics situated in universities (Hébert, Leblanc, Pirelli-Contos in Quebec City; Pagé, Tourangeau in Trois-Rivières; Villeneuve in Chicoutimi) or teachers in CEGEPs (Fortin in the Outaouais; Côté, Leclercq and Lizé in Abitibi-Témiscamingue) who work in regions. Researchers in regions more plausibly study Montreal theatre or foreign theatre, which Montreal researchers analyze American, French or British theatre, despite the oceans (literal and figurative) separating our cultures. And the opposite is very unlikely, since all organizations aim at centralizing their activities. In addition, the researchers' hierarchical level is closely linked to the object of their study, while the object of their study is ennobled by the rank they occupy in research circles.

Therefore, we posit the following corollaries: the hierarchical rank of researchers allows the object of their research to be endowed with a sense of nobility. Consequently, grants are obtained more easily, their research is more likely to be published by a press with a wide distribution network, the book becomes the subject of publicity and critical review and, finally, readers hasten to purchase it. Although it is true that researches located at universities in Montreal encounter considerable difficulties in this process, those difficulties are greatly magnified for regional researchers.

The Future

What does the future hold for us researchers working in remote areas? How can supporting institutions (schools, media, etc.) help to make the results of our work known to others?

In general, research arouses little interest. Scientific works have a hard time reaching the book market, and receive little press coverage. But that is nothing compared to the cold reception given to 'eccentric' productsregional theatre productions and research results. They are usually treated with disregard or depreciation, exceptionally with praise and a hint of astonishment.

The views and behaviour of well-placed agents in the Theatrical Institution (newspaper critics, writers in specialized magazines and the like) have already been alluded to. Works of a very similar nature may be given quite different receptions, as illustrated by two different reviews of two books on theatre history appearing in the same journal. On the one hand we have Pierre Macduff's review of the Répertoire analytique de 1'activité théâtrale au Québec 1978-1978 by Raymond Laquerre and Pierre Lavoie, published by the Théâtrothèque de l'Université de Montréal and Les Éditions Leméac; on the other, a review by Paul Lefebvre of the Bibliographie du théâitre en Mauricie by Rémi Tourangeau, published by the Centre de documentation en lettres québécoises de l'Université du Québec A Trois-Rivières. Both reviews were published in Jeu (no 23, 1982). Our comments do not question the quality of the books, but the kind of reception they were given.

Macduff's tone is serious, staid, neutral. He writes in the third person. His commentary is external. He is impressed by the quantity of collected data, the thickness of the published text and the coherence of the three volumes. In other words, Laquerre and Lavoie's repertory, in his view, gets better all the time.

As to the study dealing with theatre in Mauricie, Lefebvre's tone is ironic, grotesque, mocking, insulting. He stands on stage and heckles the author. He settles scores. He lists mistakes on six columns rather than systematically.

And yet, the concern of both studies is the same: to gather and classify information on theatre in exhaustive, thick, heavy volumes. The first book consists of three volumes or 1,665 pages. The second comprises-as Lefebvre would put it-a total of two volumes, 2 3/8" thick, 5 lbs 7 oz. of information. Both works contain mistakes. If the classification method and the usefulness of Rémi Tourangeau's work are questioned-nothing can justify Lefebvre's tone¹⁰ it is nowhere mentioned that the territory covered by Laquerre and Lavoie's repertory is restricted to Montréal (although the title suggests the Province of Québec). Such verbal inflation plays counterpoint to the verbal deflation where regional theatre is concerned. In his last paragraph Lefebvre mentions that Tourangeau puts on equal footing plays performed by students, local amateur companies or professional companies on tour. Is that the reason behind the reviewer's displeasure? Do other readers feel offended?

To raise the question of defining regional theatre; to explore the best means of using the information assembled; and, to a certain extent, to worry about the harm that a good deal of unprocessed information may cause. These factors stimulate our research, and correspond to what be believe to be the critic's role.

CONCLUSION

The Theatrical Institution tries to disguise the centralism it dearly cherishes by using aesthetic and methodological criteria to depreciate regional theatre and research on theatre carried out outside metropolitan university centres. We must observe, take notes, record data, describe facts as they occur. That is the essence of scientific activity. Also, we must understand those facts in order to change the course of events, if necessary, if possible. Those are the objectives of the Groupe de Recherche sur le Théâtre en Abitibi-Témiscamingue, despite its apparently inferior, marginal, meaningless, mode of operation.

NOTES

THE PROBLEMATICS OF RESEARCH ON REGIONAL THEATRE CONDUCTED IN REMOTE AREASl

JEAN-GUY CÔTÉ, MARIE-CLAUDE LECLERCQ AND CLAUDE LIZÉ

1 We wish to thank Christine Gervais and Lyne Roussel for translating our text into English
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2 'Institution' is here used in the sense given the word by PIERRE BOURDIEU and JACQUES DUBOIS in their works
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3 The next few pages are based on CLAUDE LIZÉ's article 'Institution littéraire, institution théâtrale et théâtre régional,' in Theatre History in Canada/Histoire du théâtre au Canada vol 12 no 1 (Spring 1991), 37-55
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4 Similarly, national theatre becomes international once it extends beyond its borders
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5 See MARTA SAENZ DE LA CALZADA's article 'Quand on va à Montréal,' in 'Du théâtre en Abitibi-Témiscamingue,' Cahiers d'histoire et de géographie (Cégep de l'Abitibi-Témiscamingue 1990, pp 163-87). See also RENÉ DIONNE's article, 'Les études littéraires régionales,' in Revue d'histoire littéraire du Québec et du Canada français (Université d'Ottawa, été/automne 1987, pp 134-43), which describes a similar phenomenon concerning literature.DIONNE points out that Quebec literature is sometimes considered to be regional by continental and international theatrical institutions
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6 LIZÉ's article (see note 2 above) describes the influence of the theory of Institution on the work conducted by the Groupe de Recherche sur le Théâtre en Abitibi-Témiscamingue
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7 In 'Les stratégies de dévalorisation de la littérature populaire' (Cahiers pour la littérature populaire, Centre d'études sur la littérature populaire, La Seyne S/Mer, no 7 [automne/hiver 1986] pp 87-101) JULIA BETTINOTTI and CLAUDE LIZÉ, study various institutional strategies to depreciate popular literature. Some of those strategies apply to regional theatre also
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8 See JEAN-GUY CÔTÉ's article, 'Le théâtre des régions: Le cas de l'Abitibi-Témiscamingue et son rôle dans le développement du théâtre national,' in L'Annuaire théâtral no 9 (printemps 1991)
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9 Those results were discussed in a paper entitled 'Du théâtre en Abitibi-Témiscarningue,' in Cahiers d'histoire et de géographie (Cégep de l'Abitibi-Témiscaniingue, Rouyn-Noranda 1990, 265 pp) and published by the Groupe de Recherche sur the Théâtre en Abitibi-Témiscamingue, comprising JEAN-GUY CÔTÉ, MARIE-CLAUDE LECLERCQ and CLAUDE LIZÉ
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10 In his review LEFEBVRE asks TOURANGEAU if he is proud of his feeble, ethnocentric study, and states that its author should be ashamed
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