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

身份认同是魁北克戏剧的重要主题之一，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，许多社会少数民族开始崭露头角。例如，土著剧作家汤逊·海威在他的《雷斯姐妹篇》（1988）中，就像米歇尔·特雷姆雷的《美女们》一样，用土著克里语描写了印第安妇女的悲喜剧。（1965年出版）。另一方面，加拿大法语戏剧在探索新的语言和形式以适应新的时代时，并不需要参照20世纪80年代的加拿大英语戏剧，因为它本身对身份的追求才是最重要的。我们可以假设，这就是为什么魁北克剧院往往是镜面或回顾性的，如米歇尔特朗布莱的阿尔贝蒂娜五个时间（1983年）或米歇尔马克布沙尔的缪斯孤儿（1988年）。

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).