Abstract
One of the challenges of mounting an “international theatre festival” is to come up with a conceptual framework that can profitably link diverse shows from a variety of countries. Most frequently, and rather simplistically, artistic directors use “excellence” as the common denominator, and choose “the best” shows that are available, programming a festival with hit shows from other festivals they have attended around the world. When Le Festival de théâtre des Amériques began in Montreal in 1985, the mandate was more precise: as the name implies, the biannual event was to bring together theatre productions from among the 45 nations that constitute “the Americas.” During the first two versions, the festival presented shows from Canada, the USA, Mexico, Argentina, Brazil, Nicaragua, Haiti, Venezuela and Cuba.
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