Abstract
Since its founding in 1974, Canadian Theatre Review has made a major contribution to the canon of Canadian drama, in its critical discourse and publication of new plays. Under three successive editorial regimes its notion of what constitutes the canon has changed radically. In its first phase, CTR was committed to legitimizing the canon; in its second phase, the notion of the canon was broadened to include marginalized voices; today CTR is effectively committed to interrogating the very idea of a canon.
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