Indigenous resources

Véronique Hébert

Learn more about the Indigenous people and artists on whose lands we are gathering (now virtually), with Véronique Hébert, a member of the programming committee, as our guide.

Véronique Hébert is an Atikamekw theatre artist from the community of Wemotaci. After a BA in theatre and an MA in Drama with a thesis on shamanism in the work of Jovette Marchessault, she is pursuing a PhD in Arts Study and Practice from the Université du Québec à Montréal. She is a participant of the program in Indigenous theatre at the National Theatre School of Canada, and has been the student and assistant of the École Sauvage theatre company directed by Pol Pelletier. She is one of the founders of the street theatre portion of Montreal First Peoples’ Festival. She produces work in Indigenous communities and collaborates with the theatre company Théâtre Parminou. Inspired by nature and her culture, she writes, directs, and acts in her performances with artists from different origins. Her theatre is politically-engaged, close to her concerns as an Indigenous person, as a woman, and as an artist.

Véronique recommends reading the United Nations Declaration on the Rights of Indigenous Peoples (PDF) and learning about the following Indigenous artists, companies and associations:

Here are a few Indigenous authors and music performers to discover:

And here are a few academic resources on Indigenous theatre and Québec:

  • Burelle, Julie. Encounters on Contested Lands: Indigenous Performances of Sovereignty and Nationhood in Québec. Northwestern University Press, 2018.
  • Chagnon, Karim. “Colonialisme, universalisme occidental et traduction.” TTR : traduction, terminologie, rédaction 32, no 1 (2019) : 259–278.
  • Chagnon, Karina. “Muliats et Avant les rues : la politique de l’oeuvre hétérolinguale.” Intermédialités: histoire et théorie des arts, des lettres et des techniques/Intermediality: History and Theory of the Arts, Literature and Technologies, no 27 (2016).
  • Cole, Jenn. “Shanty Songs and Echoing Rocks: Upsurges of Memory along Fault Lines of Extraction.” Canadian Theatre Review 182 (2020): 9–15.
  • Côté, Jean-François. La renaissance du théâtre autochtone : Métamorphose des Amériques. Presses de l’Université Laval, 2017.
  • Destrempes, Hélène. “Pour une traversée des frontières coloniales : identité et transaméricanité dans les oeuvres de Bernard Assiniwi et Yves Sioui-Durand.” Dans Le nouveau récit des frontières dans les Amériques, par Jean-François Côté et Emmanuelle Tremblay, 183‑203. Québec : Presses Université Laval, 2005.
  • Drouin, Jennifer. Shakespeare in Quebec: Nation, Gender, and Adaptation. University of Toronto Press, 2014.
  • Dubois, Jérôme, et Dalie Giroux. Les arts performatifs et spectaculaires des Premières Nations de l’Est du Canada. Paris : L’Harmattan, coll. « Logiques sociales », 2014.
  • Hébert, Véronique. “Le chamanisme chez Jovette Marchessault.” Thèse de maîtrise, Université d’Ottawa, 2018.
  • Koustas, Jane. “Brave New World: Robert Lepage and the First Nations Presence.” Quebec Studies, no 59 (2015) : 145–170.
  • Paré, François. “Théories du théâtre autochtone au Canada depuis 1990.” Temps zéro, no 7 (2013).
  • St-Amand, Isabelle. “Discours critiques pour l’étude de la littérature autochtone dans l’espace francophone du Québec.” Studies in Canadian Literature, 1 juin 2010. http://journals.lib.unb.ca/index.php/SCL/article/view/18321.
  • ———. Stories of Oka: Land, Film, and Literature. Univ. of Manitoba Press, 2018.
  • Tirel, Astrid. “La scène autochtone, instrument de transformation du socius.” Jeu : revue de théâtre, no 157 (2015) : 26–30.
  • ———. “L’analyse dramaturgique autochtone comme nouvel objet de la sociologie.” Cahiers de recherche sociologique, no 59‑60 (2015) : 245–257.
  • ———. Le masque, récit du processus territorial : le cas d’Aataentsic masques et théâtre. Université du Québec à Montréal, 2004.
  • ———. “Le théâtre autochtone francophone contemporain au Québec : enjeux esthétiques, éthiques et politiques.” PhD Thesis, Université du Québec à Montréal, 2017.

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