Covering a diverse range of subject matter, many of these plays are published in English for the first time.

Includes:

When Books Come Tumbling Down (Le bibliothèque de Constance) by Marie-Eve Gagnon, translated by Louise Forsyth
Public Disorder (Désordre public) by Evelyne de la Chenelière, translated by Morwyn Brebner
Catch A Tiger (L’histoire sordide de Conrad B.) by Nathalie Boisvert, translated by Bobby Theodore
Jouliks by Marie-Christine Lê-Huu, translated by Crystal Beliveau
My Mother Dog (Ma mère chien) by Louise Bombardier, translated by Leanna Brodie
Chinese Portrait of an Imposter (Portrait chinois d’une imposteure) by Dominick Parenteau-Lebeuf, translated by Crystal Beliveau
Gisèle's Wedding Dress (La robe de mariée de Gisèle Schmidt) by Julie Vincent, translated by Maureen Labonté
Rock, Paper, Jackknife… (Roche, papier, couteau…) by Marilyn Perreault, translated by Nadine Desrochers
Earthbound (Violette sur la terre) by Carole Fréchette, translated by John Murrell
The Sound of Cracking Bones (Le bruit des os qui craquent) by Suzanne Lebeau, translated by Julia Duchesne and John Van Burek

Louise H. Forsyth has always loved performance and theatre. As an amateur lover of the stage, she has acted, sung, danced, written, directed, produced, translated, stage managed, served as props manager, and hung out as much as she could as spectator. Woven into an amateur obsession with theatre has been her professional life, where she wrote two theses on the classic French writer of theatrical comedy, Molière, taught courses and supervised theses in theatre, drama, and dramatic literature, wrote scholarly studies about French and Québec playwrights, and theorized about acting and dramatic writing. Her areas of academic specialization are feminist performance and dramaturgy in Québec. Along with her passion for what the women of Québec have written for theatre, she has been engaged for quite some time with developing theories of dramaturgy and acting au féminin, along with revealing the sources of tenacious sexism in the practices and conventions for doing theatre, for studying and evaluating it, and for recounting its history. In short, she has been wondering for quite some time why womenâ??s roles have tended to remain stereotypical in works for stage, TV and film, why theatre done by womenâ??when its perspective is explicitly derived from a womanâ??s point of viewâ??is still easily dismissed with a summary shrug as deserving only condescending scorn, why womenâ??s theatrical experimentation is so rarely discussed by scholars as serious theoretical work or used by them in their own theoretical reflections, and why the silence of critics on women and their richly creative activities has not yet been overcome when it comes to their accounts of theatre history.

Louise H. Forsyth's profile page