Abstract
When Canadian Theatre Review was founded in the heady nationalist days of the 1970s, the place and position of Canadian in its title was clear. A young Englishman, Robin Phillips, had just been appointed artistic director of the Stratford Festival, which occasionally billed itself as Canada’s national theatre, and CTR’s editors (including founder Don Rubin, then a recent American draft resistor) were throwing down the gauntlet to defend the honour of a truly Canadian theatre. In subsequent issues and years, CTR set out to chart the emergence of this national theatre “from the colonial twilight,” as Rubin and Alan Richardson put it in volume 30 (Spring 1981). The project was unquestionably noble, unquestioningly nationalist and unquestionably resistant to anglo- and American cultural and economic colonization.
Published Version
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