CANADIAN WAR HISTORY

Canadian War History

How Canadian Playwrights Reflect Canadian War History

In the twentieth century, we continue to write poetic dramas, including The Witch of Endor (1916), the Rev. Robert Norwood, melodramas and light comedies, such as parts of WA Tremayne, among others. The Man Who Went (1918), an espionage drama that takes place during the war, is a typical example of rooms full of clichés and a stage for American trade. In the early twentieth century, children's plays and scenarios of an educational or religious groups and those advocating temperance are very popular. The same is true of comedy sketches, including adaptations of Dickens and parts slapstick comedies of Stephen LEACOCK, vestiges of a bygone theater.

After the First World War, Canadian playwrights write as part of the amateur movement that is spreading throughout the country. From Canadian Plays in Hart House Theatre (2 vols. 1926-1927), Editor Vincent MASSEY cites as examples of the different genres that this "little theater" Balm, Brothers in Arms and The Weather Breeder, three short comedies humorous Merrill DENISON (first great playwright of the century). His play Marsh Hay, realistic drama in four acts, in The Unheroic North (1923), discusses important Canadian themes.

At the time, the one-act plays predominate. The verse play The Woodcarver's Wife (University Magazine, 1920), poet Marjorie Pickthall, presented in Hart House, University of Toronto. For cons, the play The Cradle (1928), Amy Campbell, who echoes the poetic style of Synge, has never been mounted. One Act Plays by Canadian Authors (1926) brings 19 pieces, of which only Come True and Low Life are noteworthy, and this, because they are Mazo DE LA ROCHE. These works predate Whiteoaks (1936), classical drama adapted from his novel The Whiteoaks of Jalna, who held the poster for more than two years in London, England, before the war.

By the mid-1930s, Samuel us (Canada) Ltd. launched Canadian Playwrights Series, in which it offers one-act plays including, Summer Solstice (1935), Martha Allan (influenced by Heartbreak House by GB Shaw), Jim Barber's Spite Fence (1936), play fun Lillian Thomas, and The Lampshade, which tells the story of a murder, WAS Milne. In his four Plays of the Pacific Coast (1935), AMD Fairbairn depicts the Indians of the West Coast and the clash of cultures and indigenous white. Quebec legend of a woman who had danced with the devil translated into rhyming couplets by EW Devlin in Rose Latulippe (1935). Finally, the misery caused by the crisis of the 30sinspired dramas Twenty Five Cents (Toronto, 1936), Eric Harris, and Open Doors (1930), Lois Reynolds Kerr.

Moreover, the crisis raises the creation of many pieces of so-called "workers". Dorothy Livesay is the best known among the perpetrators of this kind with Joe Derry (Masses, 1933), a play that leaves much room for the pantomime. It is, however, Eight Men Speak (1934), Oscar Ryan, E. Cecil-Smith, H. Francis and Mildred Goldberg, belongs the first place. “Eight Men “Speak” is both an important historical perspective and as part having been able to make effective use of ...