Abstract
Both George Ryga, in his argument for a “Canadian Content” quota (CTR 1) and Fred Euringer’s reply (CTR 4) miss the point in their discussions of the production of Canadian plays: the crucial issue is not so much nationalism as originality. Contemporary experience, as well as the entire history of Western drama, demonstrate that any viable theatre is primarily concerned with the production of new plays. A quota system would be of little value if, for example, it merely led to another thousand token productions of Leaving Home. It is new, original plays that form the vital core in a healthy theatre — whether that theatre is commercial or subsidized, establishment or fringe.
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