Abstract
A few years ago, in Victoria, at the CATR conference, colleagues drawing on Joseph Roach’s and Diana Taylor’s respective theoretical explorations into the archive and the repertoire offered their own “Canadian Performance Genealogies” using key words as triggers to recalibrate Canadian theatre history from its traditional grand narrative and usual temporality. They sought to address intercultural performances and to interrogate historical biases. It was exciting, rich, lively, playful, and allowed for an essential reconfiguration of the historical narratives of Canadian drama by a generation of highly theorized scholars, comfortable with their theatre history and the current theoretical trends emerging from America.1
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