Monique Mohica and Ric Knowles, Eds.: Staging Coyote's Dream: An Anthology of First Nations Drama in English, Vol. I

By Smith, Annie | Theatre Research in Canada, Fall 2010 | Go to article overview

Monique Mohica and Ric Knowles, Eds.: Staging Coyote's Dream: An Anthology of First Nations Drama in English, Vol. I


Smith, Annie, Theatre Research in Canada


MONIQUE MOHICA AND RIC KNOWLES, eds.

Staging Coyote's Dream: An Anthology of First Nations Drama in English, Vol. I.

Toronto: Playwrights Canada Press, 2003. 459 pp.

MONIQUE MOHICA AND RIC KNOWLES, eds.

Staging Coyote's Dream: An Anthology of First Nations Drama in English, Vol. I.

Toronto: Playwrights Canada Press, 2008. 367 pp.

Ric Knowles and Monique Mohica, the editors of both volumes of Staging Coyote's Dream, are situated in Ontario. As a collaborator, Mohica brings her history of being nurtured by Spiderwoman Theatre and her experience as an actor and playwright and collaborator with Turtle Gals Performance Ensemble. She is a former artistic director of Native Earth Performing Arts. Knowles is Professor of Theatre Studies at Guelph University and an editor for Canadian Theatre Review. His books include The Theatre of Form and the Production of Meaning, Shakespeare and Canada, and Reading the Material Theatre; he is general editor of the book series Critical Perspectives on Canadian Theatre from Playwrights Canada Press.

The two volumes of Staging Coyote's Dream present a collection of twenty plays by fifteen playwrights, published between 1986 and 2004, Volume I ending in 2000 and Volume II beginning in 1996. The playwrights are Native American writers from both Canada and the US because, as the editors explain in their introduction to Vol. I, "the decision not to restrict the plays to those produced within the geopolitical boundaries of Canada makes two implicit claims. [...T]he right of First Nations peoples not to be subject to the political or legislative regimes of later-day nations; [and ...] a history that long precedes contact or colonization, that has not been superseded, and that cannot be circumscribed" (iv).

I make a point of situating the editors in Ontario because I believe this has a bearing on the choices of plays in these two anthologies. The playwrights who are included in these volumes are, for the most part, connected by the fact that they are "a family of theatre artists who share certain aspects of their heritage and certain experiences of the contemporary world" (iv). I understand this quite literally for the artists included seem to constellate around Spiderwoman Theatre in New York (Miguel, Borst, Mohica, Turtle Gals); the Centre for Indigenous Theatre, founded by Favel (Toronto); and Native Earth Performing Arts (Toronto), with which a number of the playwrights have been associated (Moses, Highway, Taylor, Nolan, Mohica, Dandurand). The exceptions to these constellations are Shirley Cheechoo, the founder of De-ba-je-ma-jig Theatre (also Ontario); Margo Kane and Marie Clements, west coasters; and William S. Yellow Robe Jr. from Montana. The "certain experiences of the contemporary world" may also refer to the post-colonial project of Native identity and the weight of experience of colonial oppression which haunts and is, indeed, the subject of many of the plays in these two volumes.

As a teacher and director of works by Native playwrights, I admit to some curiosity as to why these particular plays/playwrights are included in this two-volume anthology. Anthologies, by their nature, suggest an editorial rationale for their contents; Knowles and Mohica, in their introduction to the first volume, tell us that this is "a collection of plays that appeals to us and challenges us as editors" (iii). They take care to explain that they are not attempting a representative collection but an "eclectic selection" of plays and playwrights. This disclaimer notwithstanding, I would appreciate more elucidation of their choices, particularly as the second volume has little to offer by way of introduction and many of the playwrights appear for the second time, in their own right or as members of collectives. The second volume would gain by including the excellent introduction from the first volume which offers readers useful discussions of terminology in a field that is developing in resistance to western forms of theatre, while, of necessity, using western concepts to explain itself and its projects.

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Monique Mohica and Ric Knowles, Eds.: Staging Coyote's Dream: An Anthology of First Nations Drama in English, Vol. I
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.