The Theatre of Linda Griffiths
dc.contributor.advisor | Creet, Julia | |
dc.contributor.author | Attrell, Amanda Anne | |
dc.date.accessioned | 2022-03-03T13:58:22Z | |
dc.date.available | 2022-03-03T13:58:22Z | |
dc.date.copyright | 2021-09 | |
dc.date.issued | 2022-03-03 | |
dc.date.updated | 2022-03-03T13:58:22Z | |
dc.degree.discipline | English | |
dc.degree.level | Doctoral | |
dc.degree.name | PhD - Doctor of Philosophy | |
dc.description.abstract | Linda Griffiths, actor and playwright, is a charismatic and vital presence on the Toronto theatre scene from the early 1970s until her untimely death in 2014. She travels across Canada and to Broadway, performing Maggie & Pierre after it premiers in the Backspace of Theatre Passe Muraille in 1980. She performs in her final play, Heaven Above, Heaven Below, with Layne Coleman in this same intimate space in 2013. Between these two shows, Griffiths works in theatres across Canada all the while maintaining her dedication to Theatre Passe Muraille. Her beginnings in collective creation lead her to experiment with process and with the formal composition of her plays, as well as to continuously navigate between her roles as actor and playwright. This dissertation studies the arc of Griffiths's career in order to reposition her in the field. It explores Griffiths's experiments with form as well as her embodiment and continuation of the spirit and enthusiasm of the alternative theatre movement in Canada. I trace the development of her uvre as that of a playwright whose creative process travels the arc from collective, to collaboration, to writing solo for backspaces and mainstages, for both intimate venues and large national theatres, ultimately establishing her as one of Canada's most original and vibrant playwrights. This dissertation analyzes Griffiths's career as she discovers her actor-playwright identity, develops her own distinct creative process, and using her own unique methods writes and performs meaningful, powerful pieces which imagine new possibilities in women's representation. I draw on original archival research from the Linda Griffiths fonds held at the University of Guelph as well as archives and papers in the private possession of Layne Coleman, Griffiths's long-term fellow theatre practitioner. As a kaleidoscopic creator, Griffiths's work necessitates a kaleidoscopic study. The methods of analysis, however, remain focused on archival research into her process. Because of her tendency to write from lived experience and to thoroughly research her subjects, who are often derived from real people, I investigate Griffiths's alchemical methods of transforming truthful material into illusory, fantastical, ephemeral, yet poignant and impactful performances. | |
dc.identifier.uri | http://hdl.handle.net/10315/39064 | |
dc.language | en | |
dc.rights | Author owns copyright, except where explicitly noted. Please contact the author directly with licensing requests. | |
dc.subject | Women's studies | |
dc.subject.keywords | Linda Griffiths | |
dc.subject.keywords | Canadian drama | |
dc.subject.keywords | Canadian dramatists | |
dc.subject.keywords | Canadian playwrights | |
dc.subject.keywords | Women Canadian playwrights | |
dc.subject.keywords | 20th century | |
dc.subject.keywords | 21st century | |
dc.subject.keywords | Theatrical producers and directors | |
dc.subject.keywords | Canadian actors | |
dc.subject.keywords | Women authors | |
dc.subject.keywords | Archives | |
dc.subject.keywords | Archival research | |
dc.subject.keywords | Women in Canadian archives | |
dc.subject.keywords | Archival materials | |
dc.subject.keywords | Theatre | |
dc.subject.keywords | Theater | |
dc.subject.keywords | Canadian theatre | |
dc.subject.keywords | Theater history | |
dc.subject.keywords | Canadian theatre history | |
dc.subject.keywords | Canadian theatre historiography | |
dc.subject.keywords | Theater historiography | |
dc.subject.keywords | Canadian literature | |
dc.subject.keywords | Women | |
dc.subject.keywords | Women in theatre | |
dc.subject.keywords | Women in Canadian theatre | |
dc.subject.keywords | Performance | |
dc.subject.keywords | Contemporary theatre | |
dc.subject.keywords | Theatre Passe Muraille | |
dc.subject.keywords | Theatre and performance in Toronto | |
dc.subject.keywords | Alternative theatre | |
dc.subject.keywords | Alternate theatre | |
dc.subject.keywords | Collective creation | |
dc.subject.keywords | Improvisation | |
dc.subject.keywords | Theatrical process | |
dc.subject.keywords | Process | |
dc.subject.keywords | Theatricality | |
dc.subject.keywords | Auto/biography | |
dc.subject.keywords | Biography | |
dc.subject.keywords | Autobiography | |
dc.subject.keywords | Life-performing | |
dc.subject.keywords | Women's representation | |
dc.subject.keywords | Canadian arts and culture | |
dc.subject.keywords | Feminist literary criticism | |
dc.subject.keywords | Theatre in the archives | |
dc.subject.keywords | Layne Coleman | |
dc.subject.keywords | Paul Thompson | |
dc.subject.keywords | Anne Anglin | |
dc.subject.keywords | Janet Amos | |
dc.subject.keywords | The Farm Show | |
dc.subject.keywords | If You Are So Good Why Are You in Saskatoon? | |
dc.subject.keywords | Paper Wheat | |
dc.subject.keywords | Generation and 1/2 | |
dc.subject.keywords | O.D. on Paradise | |
dc.subject.keywords | Maggie & Pierre | |
dc.subject.keywords | Maggie and Pierre | |
dc.subject.keywords | Pierre Elliott Trudeau | |
dc.subject.keywords | Margaret Trudeau | |
dc.subject.keywords | Alien Creature | |
dc.subject.keywords | Alien Creature: A Visitation from Gwendolyn MacEwen | |
dc.subject.keywords | Gwendolyn MacEwen | |
dc.subject.keywords | Wallis Simpson | |
dc.subject.keywords | Jessica | |
dc.subject.keywords | The Book of Jessica | |
dc.subject.keywords | The Book of Jessica: A Theatrical Transformation | |
dc.subject.keywords | Medicine Shows | |
dc.subject.keywords | Maria Campbell | |
dc.subject.keywords | Yvette Nolan | |
dc.subject.keywords | Solo performance | |
dc.subject.keywords | Collaborative writing | |
dc.subject.keywords | Women in Canadian Theatre | |
dc.subject.keywords | The Darling Family | |
dc.subject.keywords | A Game of Inches | |
dc.subject.keywords | Spiral Woman and the Dirty Theatre | |
dc.subject.keywords | The Duchess aka Wallis Simpson | |
dc.subject.keywords | Women's self-representation | |
dc.subject.keywords | Age of Arousal | |
dc.subject.keywords | The Last Dog of War | |
dc.subject.keywords | Games Who Wants to Play | |
dc.subject.keywords | Brother Andre's Heart | |
dc.subject.keywords | Chronic | |
dc.subject.keywords | Visceral playwrighting | |
dc.subject.keywords | Heaven Above Heaven Below | |
dc.subject.keywords | Baby Finger | |
dc.subject.keywords | 25th Street Theatre | |
dc.subject.keywords | 25th Street House Theatre | |
dc.subject.keywords | English Theatre in Canada | |
dc.subject.keywords | Theatre by women | |
dc.subject.keywords | Feminist self-representation | |
dc.subject.keywords | CBC | |
dc.subject.keywords | Canadian Broadcasting Corporation | |
dc.subject.keywords | Canada Council for the Arts | |
dc.subject.keywords | The Massey Commission | |
dc.subject.keywords | Governor General's Literary Award for Drama | |
dc.subject.keywords | National Arts Centre | |
dc.subject.keywords | National Theatre School | |
dc.subject.keywords | National Theatre School of Canada | |
dc.subject.keywords | Tarragon Theatre | |
dc.subject.keywords | Factory Theatre | |
dc.subject.keywords | Playwrights Union of Canada | |
dc.subject.keywords | Women's issues | |
dc.subject.keywords | Canadian nationalism | |
dc.subject.keywords | Cultural protectionism | |
dc.subject.keywords | Cynthia Zimmerman | |
dc.subject.keywords | Julia Creet | |
dc.subject.keywords | Ross Stuart | |
dc.subject.keywords | Sherrill Grace | |
dc.subject.keywords | Performative autobiographics | |
dc.subject.keywords | Shelley Scott | |
dc.subject.keywords | Kym Bird | |
dc.subject.keywords | Diana of Dobson's | |
dc.subject.keywords | Cicely Hamilton | |
dc.subject.keywords | Daniel MacIvor | |
dc.subject.keywords | New Magic Valley Fun Town | |
dc.subject.keywords | Andrew Moodie | |
dc.subject.keywords | Sharon Pollock | |
dc.subject.keywords | Carol Bolt | |
dc.subject.keywords | Linda Morra | |
dc.subject.keywords | Judith Rudakoff | |
dc.subject.keywords | Kathleen Gallagher | |
dc.subject.keywords | Jenn Stephenson | |
dc.subject.keywords | Kathryn Harvey | |
dc.subject.keywords | Ann Wilson | |
dc.subject.keywords | Gina Mallet | |
dc.subject.keywords | J. Kelly Nestruck | |
dc.subject.keywords | Charlotte Corbeil-Coleman | |
dc.subject.keywords | Lianna | |
dc.subject.keywords | Sid Adilman | |
dc.subject.keywords | Margaret Atwood | |
dc.subject.keywords | Spectatorship | |
dc.subject.keywords | Audience | |
dc.subject.keywords | Representation | |
dc.subject.keywords | Monodrama | |
dc.subject.keywords | Roberta Barker | |
dc.subject.keywords | Susan Bennett | |
dc.subject.keywords | Laura Levin | |
dc.subject.keywords | Diane Bessai | |
dc.subject.keywords | Rebecca Burton | |
dc.subject.keywords | Clarke Rogers | |
dc.subject.keywords | Joy Coghill | |
dc.subject.keywords | Elin Diamond | |
dc.subject.keywords | Jill Dolan | |
dc.subject.keywords | Susanna Egan | |
dc.subject.keywords | Kate Eichhorn | |
dc.subject.keywords | Penny Farfan | |
dc.subject.keywords | Alan Filewod | |
dc.subject.keywords | Rina Fraticelli | |
dc.subject.keywords | George Gissing | |
dc.subject.keywords | The Odd Women | |
dc.subject.keywords | Ambivalent sexism | |
dc.subject.keywords | Hostile sexism | |
dc.subject.keywords | Benevolent sexism | |
dc.subject.keywords | R. Darren Gobert | |
dc.subject.keywords | Jerry Wasserman | |
dc.subject.keywords | Dawson College | |
dc.subject.keywords | Sheer Nerve | |
dc.subject.keywords | Kelly Thornton | |
dc.subject.keywords | Andy McKim | |
dc.subject.keywords | D. A. Hadfield | |
dc.subject.keywords | Margaret Hollingsworth | |
dc.subject.keywords | Helen Hoy | |
dc.subject.keywords | Rae Johnson | |
dc.subject.keywords | Denis Johnston | |
dc.subject.keywords | Renate Usmiani | |
dc.subject.keywords | Feminist history play | |
dc.subject.keywords | History play | |
dc.subject.keywords | Jani Lauzon | |
dc.subject.keywords | Equity in Canadian theatre | |
dc.subject.keywords | Dark Pines Under Water | |
dc.subject.keywords | Marino Marini's Horses and Riders | |
dc.subject.keywords | Mama's Going to Buy You a Mockingbird | |
dc.subject.keywords | Jackie Maxwell | |
dc.subject.keywords | Michael McKinnie | |
dc.subject.keywords | Katherine McLeod | |
dc.subject.keywords | Nightwood Theatre | |
dc.subject.keywords | Groundswell Festival | |
dc.subject.keywords | Marie Clements | |
dc.subject.keywords | Anne Nothof | |
dc.subject.keywords | Michael Ondaatje | |
dc.subject.keywords | Richard Ouzounian | |
dc.subject.keywords | Ray Conlogue | |
dc.subject.keywords | Passion and Paradise | |
dc.subject.keywords | Jacqueline Petropoulos | |
dc.subject.keywords | Jeanne Perreault | |
dc.subject.keywords | Pinkie | |
dc.subject.keywords | Blue Boy | |
dc.subject.keywords | Thomas Postlewait | |
dc.subject.keywords | Shaw Festival | |
dc.subject.keywords | Jessica Riley | |
dc.subject.keywords | Reno and the Doc | |
dc.subject.keywords | Reify | |
dc.subject.keywords | Don Rubin | |
dc.subject.keywords | Samuel Lount | |
dc.subject.keywords | Soulpepper Theatre Company | |
dc.subject.keywords | Rosemary Sullivan | |
dc.subject.keywords | Shadow Maker | |
dc.subject.keywords | Shadow Maker: The Life of Gwendolyn MacEwen | |
dc.subject.keywords | Thoughtspeak | |
dc.subject.keywords | Sword of Gideon | |
dc.subject.keywords | The Marriage Bed | |
dc.subject.keywords | Severn Thompson | |
dc.subject.keywords | Kathleen Venema | |
dc.subject.keywords | Robert Wallace | |
dc.subject.keywords | Brent Wood | |
dc.subject.keywords | Lorraine M. York | |
dc.subject.keywords | The Ballad of Billy the Kid | |
dc.subject.keywords | Bezumba Theatre | |
dc.subject.keywords | Youtheatre | |
dc.subject.keywords | Montreal Theatre Lab | |
dc.subject.keywords | Toronto Free Theatre | |
dc.subject.keywords | Alex Hausvater | |
dc.subject.keywords | Fen | |
dc.subject.keywords | Caryl Churchill | |
dc.subject.keywords | Tom Kerr | |
dc.subject.keywords | Jennifer Andrews | |
dc.subject.keywords | Blanca Chester | |
dc.subject.keywords | Valerie Dudoward | |
dc.subject.keywords | Barbara Godard | |
dc.subject.keywords | Michael Jacklin | |
dc.subject.keywords | David Jefferess | |
dc.subject.keywords | Laura J. Murray | |
dc.subject.keywords | Joanne Tompkins | |
dc.subject.keywords | Theatre Museum Canada | |
dc.subject.keywords | Legend Library | |
dc.subject.keywords | Andras Tahn | |
dc.subject.keywords | Performing Canada | |
dc.subject.keywords | Modern Canadian plays | |
dc.subject.keywords | Gratien Gélinas | |
dc.subject.keywords | Theatre audiences | |
dc.subject.keywords | Factory Theatre Lab | |
dc.subject.keywords | Martin Kinch | |
dc.subject.keywords | Judith Thompson | |
dc.subject.keywords | The Status of Women in Canadian Theatre | |
dc.subject.keywords | Emma Stenning | |
dc.subject.keywords | Trey Anthony | |
dc.subject.keywords | Sandra Caldwell | |
dc.subject.keywords | Falen Johnson | |
dc.subject.keywords | Hannah Moscovitch | |
dc.subject.keywords | Kat Sandler | |
dc.subject.keywords | Erin Shields | |
dc.subject.keywords | Playwrighting Women | |
dc.subject.keywords | Playwrighting Women: Female Voices in English Canada | |
dc.subject.keywords | Feminist theatre historiography | |
dc.subject.keywords | Canadian feminist theatre | |
dc.subject.keywords | Theatre Passe Muraille: A Collective History | |
dc.subject.keywords | Blood Relations | |
dc.subject.keywords | The Crackwalker | |
dc.subject.keywords | Ever Loving | |
dc.subject.keywords | Billy Bishop Goes to War | |
dc.subject.keywords | Buffalo Jump | |
dc.subject.keywords | performing communities | |
dc.subject.keywords | Gary Geddes | |
dc.subject.keywords | Patrick Brymer | |
dc.subject.keywords | Sandra Balcovske | |
dc.subject.keywords | just watch me | |
dc.subject.keywords | Karen Hines | |
dc.subject.keywords | Canada | |
dc.subject.keywords | Theatre of war | |
dc.subject.keywords | Feminist | |
dc.subject.keywords | Feminism | |
dc.subject.keywords | Feminist writing | |
dc.subject.keywords | Feminist author | |
dc.subject.keywords | Duchess Productions | |
dc.subject.keywords | Toronto Blue Jays | |
dc.subject.keywords | Performance anxiety | |
dc.subject.keywords | Summerworks | |
dc.subject.keywords | Playwrights Canada Press | |
dc.subject.keywords | Publishing in Canada | |
dc.subject.keywords | Publishing | |
dc.subject.keywords | Process/product | |
dc.subject.keywords | Text-performance | |
dc.subject.keywords | Text/performance | |
dc.subject.keywords | Alan Williams | |
dc.subject.keywords | David Fox | |
dc.subject.keywords | Graham Greene | |
dc.subject.keywords | Monique Mohica | |
dc.subject.keywords | Makka Kliest | |
dc.subject.keywords | Tom Hauff | |
dc.subject.keywords | Tantoo Cardinal | |
dc.subject.keywords | Victor Ertmanis | |
dc.subject.keywords | Gary Farmer | |
dc.subject.keywords | Susan Hogan | |
dc.subject.keywords | Booth Savage | |
dc.subject.keywords | Sharon Stearns | |
dc.subject.keywords | Nicky Guadagni | |
dc.subject.keywords | Nancy Beatty | |
dc.subject.keywords | Sharon Dyer | |
dc.subject.keywords | Jim Plaxton | |
dc.subject.keywords | Michael Fahey | |
dc.subject.keywords | Toronto Star | |
dc.subject.keywords | Globe and Mail | |
dc.subject.keywords | Globe & Mail | |
dc.subject.keywords | Performativity | |
dc.subject.keywords | Jim Garrard | |
dc.subject.keywords | Miles Potter | |
dc.subject.keywords | Actor-writer | |
dc.subject.keywords | Actor-playwright | |
dc.subject.keywords | Actor/playwright | |
dc.subject.keywords | Self-performance | |
dc.title | The Theatre of Linda Griffiths | |
dc.type | Electronic Thesis or Dissertation |
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