s that we lack a Canadian identity, both on and off the stage, is because we as English-Canadians do not think of ourselves as Canadians.Like any other country, Canadians all have different values and traditions. In English-Canada, however, this diversity is even more apparent making it even harder for people to identify with each other. When different cultural groups each have their traditions and culture due to their differing origins, it is almost impossible to have a single Canadian identity. In this way, the many traditions, values, and attitudes present in English-Canada, combined with nationality, serve to define English-Canadian identity both on and off stage. According to Gilbert, the Canadian play does not exist: I dont see how a play can be Canadian. I mean, what is a Canadian play?The whole issue seems to me to be a total red herringI think the only area of interest in a discussion of this sort is whether the particular play has a particular relevance in the place where it is going to be shown and this is the matter that is quite regardless of the nationality of the author (Chusid 14).As previously evaluated, it is essential to consider Canadian nationality when evaluating whether or not a play is Canadian. This alone, however, is not enough to define English-Canadian theatre. Instead, similar to the belief of Gilbert, English-Canadian theatre must be classified as having any relevance to past or present traditions, values, and attitudes shared by individuals, written by individuals of Canadian nationality. With this stipulation, it is harder to define both Hedda Gabler and Shakespeares Dead & Foolius Ceasar as being Canadian.Although Shakespeares Dead & Foolius Ceasar were written by Canadians, based on this definition, they are hardly Canadian. Audience members familiar with Shakespearean plays and performances during Elizabethan England can in some way relate to the performance through education. The play, never...
