Abstract
Sharon Pollock's well-known plays, Blood Relations and Doc, can be read as "out-law genres" by extending the criteria which Caren Kaplan has outlined to designate women's renegade texts to theatrical representations. Both plays mix conventionally unmixable theatrical elements and use collaborative discursive practices to expose the myth that texts are individually authored, creating alternative texts based on a discourse of situation or a "politics of location." After her split-subject representation of the notorious parent-killer, Lizzie Borden, Pollock crosses back into Canadian territory to create her own version of the excluded daughter's revenge in Doc where Catherine sets out to murder her father's reputation symbolically. Taken together, Pollock's plays, which rescue lost women's stories, point to a new dramatic future capable of expressing revolutionary transnational feminisms.
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