Interacton between English Canadian Theatre and French Canadian Thatre in 1980's

身份认同是魁北克戏剧最重要的主题之一，因此法裔加拿大戏剧对英裔加拿大戏剧的影响是显而易见的，尤其是在20世纪80年代，许多社会少数民族正在出柜。例如，土著戏剧家Tomson Highway在他的《印第安人的姐妹》（1988）中用土著克里语描写了印第安妇女的悲喜剧，与Michel Tremlay的《美丽的姑娘》（1965）相似。更重要的是，英语加拿大需要包括魁北克和其他小文化，以保持多元文化。另一方面，法裔加拿大戏剧为了适应新时代，想要研究一种新的语言，创新自己的形式，并不需要参考80年代的英裔加拿大戏剧，因为它自己对身份的追求才是重要的。我们可以假设，这就是为什么魁北克剧院倾向于像米歇尔·特朗布莱的《五岁的阿尔伯丁》（1983）或米歇尔·马克·布沙尔的《奥菲勒斯》（1988）那样是镜面或回顾性的。

As the identity is one of the most important themes in Quebec Theatre, the influence of French Canadian Theatre on English Canadian Theatre is obvious, particularly in 1980's, when many social minorities are coming out. For example, Tomson Highway, an aboriginal dramatist, describes the tragicomedy of Indian women by using aboriginal Cree language in his the rez sisters (1988) like Michel Tremlay's Belles-soeurs.(1965). What's more, English Canada needs to involve Quebec as well as other minor cultures to maintain the multiculturism.On the other hand, French Canadian Theatre doesn't need to refer to English Canadian Theatre in 1980's when it wants to investigate a new language and to innovate its form in order to adapt to a new age, because it is its own quest for the identity that matters. We can suppose that it is why Quebec Theatre tend to be specular or retrospective like Michel Trmblay's Albertine en cinq temps (1983) or Michel Marc Bouchard's Muses orphelines (1988).