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The Living Histories Theatre Ensemble (LHTE) is a socially-engaged improvisational theatre collective exploring the intersections of oral history and performance within a community-university research alliance entitled, 'Life Stories of Montrealers Displaced by Genocide, War, and other Human Rights Violations.' This paper explores the LHTE's adaptations of Playback Theatre, and specifically the evolution of a technique called the 'Bridge', towards more fully reflecting values espoused within the Montreal Life Stories project. [ABSTRACT FROM AUTHOR]

The Ligue Nationale d'Improvisation (LNI), an improvisational theatre group that came into being in the late 1970s in Montreal and whose popularity spread quickly, mainly in the francophone world, has imported the structure and rules of hockey and adapted them to a format in which teams of actor-improvisers compete. This paper examines the ways in which the game of hockey has infused theatre improvisation with energy and vitality and why, in a Canadian and more particularly Québécois setting, the transposition of a sport like hockey is particularly loaded with cultural resonance. [ABSTRACT FROM AUTHOR]

The article focuses on the history of development of the Théâtre Parminou over thirty years of its existence. The theatre was born in the social and protest movements of the 1970s and it quickly defined its identity around a desire to move beyond the closed world of mainstream institutional theatre. From its foundation in May 1973 by the graduates of the Conservatories of Dramatic Art of Quebec and Montreal, the troupe's mandate has been to create and tour works, in a popular theatre format, that take up the social problems of its era.

Highlights the Drama For Human Development Program launched by Montreal, Quebec-based Concordia University for young artists. Components of the program; Various approaches used in training young artists; Partnership of the university with Weston School.

Reviews several plays presented in Festival de Theatre des Ameriques in Montreal, Quebec on May 8 to June 1997. 'Periodo Villa Villa,' performed by De La Guardia; 'Orostea (Una commedia organica?),' performed by Societas Raffaello Sanzio; 'Les Sept branches de la riviere Ota,' by Robert Lepage and Ex Machina.

Discusses the themes suggested, character portrayed and situation explored in two monodramas staged in Montreal, Quebec in 1997. 'Moman,' written and performed by Lousette Dussaults in 1979 until 1983; 'The Dragonfly of Chicoutimi,' written by Larry Tremblay and performed by Jeqan-Louis Millette; Common denominators of both shows.

There are very few actual experimental theatres left in Montreal, Quebec. Resisting the impeding institutionalization of Quebec theatre are the Nouveau Théâtre Expérimental (NTE) and Momentum. Interestingly, they both ventured into autobiographical drama last year, with unexpected critical and public hits, which they have revived this season. Neither of the companies' front men, Jean-Pierre Ronfard, in the case of the NTE, or Jean-Frederic Messier of Momentum, was involved in these autobiographical ventures. This theatrical season in Montreal might be referred to retrospectively as the "Season of Self," with its sheer number of avowed and suggested autobiographical works.