Abstract
Mavor Moore has cited the filmmaker John Grierson to the effect that “first comes the need, then the art, then the theory”.’ To study the art and theory of Canadian theatre and drama, one must also interject the bibliographic maxim “before books can be studied, they must be known to exist”. What research methodology should we employ to arrive at an accurate understanding of the Canadian art of the theatre? In ourcurrent preliminary stage of scholarship, which in English-Canada is still largely an initial mere identification of Canadian authors and a description of their works, no present bibliography can be considered as completely authoritative.
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