Page 127 of 177
Le combat de David Fennario contre l'inauthenticité
| Type of resource | |
|---|---|
| Author/collaborator |
|
| Title |
Le combat de David Fennario contre l'inauthenticité
|
| Abstract |
The author explores the fundamental paradox found in Montreal playwright David Fennario's ongoing combat against inauthenticity. The author points out that this unabashedly Platonist writer has crafted his discourse through his resistance to posturing and pretense. The immediate success of his first plays at Montreal's Centaur Theatre (On the Job, Nothing to Lose, Balconville) and his symbiotic relationship to the institutional theatre challenged his working-class origins and ethos. The author analyzes Fennario's play Banana Boots, arguing that it was as a pivotal moment in Fennario's breaking away from traditional theatre, and specifically the Centaur. Fennario's new-found freedom allowed theatre to become a tool for active engagement with the working class. Fennario, alone on stage, playing himself, engages in a conversion narrative. The author contends that this conversion narrative acts as a political and ethical declaration of principles and echoes a larger debate on the disenfranchised role in speaking out, on the moral stakes of sincerity, and on the artist's function in today's society.
|
| Publication |
Journal of Canadian Studies / Revue d'études canadiennes
|
| Volume |
Vol. 46
|
| Issue |
no. 3
|
| Pages |
81-104
|
| Date |
Automne 2012
|
| Language |
fr
|
| Citation |
Leroux, Louis Patrick. “Le combat de David Fennario contre l’inauthenticité.” Journal of Canadian Studies / Revue d’études canadiennes Vol. 46, no. 3 (Automne 2012): 81–104.
|
| Find in a library | |
| Permalink |
Page 127 of 177
