Theatre and (Im)migration shines a bright light on the impact that immigrant artists have made and continue to make on the development of Canadian theatre, from themes, characters, and world issues to financial structures and artistic techniques. This collection of essays demonstrates how the increased presence of immigrant theatre artists actively contributing to English and French Canadian theatre prompt their audiences to rethink fundamental concepts of nationalism and multiculturalism. Contributors include Moira Day, Alan Filewod, Aida Jordão, Ric Knowles, Natasha Martina Koechl, Rebecca Margolis, Lisa Ndejuru, Nicole Nolette, Eleanor Ty, and many more.

Professor Yana Meerzon teaches at the Department of Theatre, University of Ottawa. Her research interests are in drama and performance theory, theatre of exile and migration, and cultural and interdisciplinary studies. Her publications include A Path of the Character: Michael Chekhov’s Inspired Acting and Theatre Semiotics (2005) and Performing Exile, Performing Self: Drama, Theatre, Film (Palgrave 2012). She has also co-edited several collections, such as Performance, Exile and “America” (Palgrave 2009); Adapting Chekhov: The Text and Its Mutations (Routledge 2012); History, Memory, Performance (Palgrave 2015); The Routledge Companion to Michael Chekhov (2015); and a special issue of Theatre Research in Canada (Fall 2015) and Modern Drama (Fall 2018) on theatre and immigration. Currently, she is working on a new book project, provisionally entitled Being Cosmopolitan: Staging Subjectivity in the Age of Migration and Rising Nationalism.

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Roberta Barker is Associate Professor of Theatre at Dalhousie University and the University of King’s College. She is the author of Early Modern Tragedy, Gender and Performance, 1984–2000: The Destined Livery. Her work on early modern and modern drama in performance has been published in Early Theatre, Modern Drama, Shakespeare Quarterly, and Shakespeare Survey, among other journals and essay collections, while her articles on contemporary Atlantic Canadian theatre have appeared in Canadian Theatre Review and Theatre in Atlantic Canada.

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