The Way of Lacross (originally Le Chemin de Lacroix)
Other Plays by Laurence Bédard
Other Plays by Philip London
Bédard, Laurence (Canadian translator from French into English, 19__-____) and Philip London (Canadian translator from French into English, 19__-____), “The Way of Lacross (Le Chemin de Lacroix),”
a 60-minute burlesque-tragedy in English, translated into English by Laurence Bédard and Philip W. London, set in _____, Canada, 1973,
© 1973 by Laurence Bédard and Philip W. London;
• in The Way of Lacross (Le Chemin de Lacroix (Toronto, Ontarion, Canada: Playwrights Co-op, Toronto, 1973); original title: Le Chemin de Lacroix (Leméac Éditeur, 1971);
• script/rights available from Centre des auteurs dramatiques (CEAD), 3450, St-Urbain, Montreal, Québec H2X 2N5, Canada, telephone 514-288-3384, fax 514-288-7043, e-mail email@example.com, http://globale.net/~cead.
Rodolphe Lacross (m), a chronic victim; _____ (m), _____; _____ (f), Rodolphe’s girlfriend.
“Uneducated and often unemployed, Rodolphe Lacross is a chronic victim of social injustice. One night he is arrested during a demonstration that crosses his path while he’s on his way to the local tavern. He tries to plead his case at the police station, to no avail. Finally released on bail, he is determined to prove his innocence. Encouraged by his girlfriend and his 'French from France' lawyer, he decides to stage a one-man show in which he likens his long line of trials and tribulations to The Stations of the Cross.
• “A play where tragedy and burlesque collide.”—http://www.cead.qc.ca/, accessed February 26, 2003.
• Premiered in English by Playwrights Co-op (Toronto), 1973.
• Research could include Jean Barbeau’s Le chemin de Lacroix, suivi de Goglu, Collection Répertoire québecois, 7 (Montréal, Quebec, Canada: Leméac, 1971), LCCN 71595844, 74 pp.
• “Jean Barbeau began writing for the theatre during his university years in Québec City. Several of his plays were produced by student drama groups and in 1968, his play Et caetera won two prizes at the Dominion Drama Festival in Windsor. The following year, Barbeau embarked upon his career in professional theatre when he and a group of actors founded the Théâtre Quotidien de Québec. Over the past twenty years, Barbeau has written more than thirty plays, many of which have been produced throughout the province of Québec and abroad. Several works have been translated and produced in English, while others have been enormously successful in Québec summer stock theatres. Jean Barbeau has also written for radio and television, and in 1989 he wrote the scenario for Coeur de nylon, a made-for-television film first presented by Radio-Québec. In 1992-93, he co-wrote the screenplay for Le Secret de Jérôme, the first feature film to be produced in the Acadian Maritimes. He is the author of the Radio-Canada sitcom, Marche de Zoé.”—http://www.cead.qc.ca/PDF/Cat_Anglais98.PDF, accessed February 26, 2003.
• Jean Barbeau “Politically engaged Separatist playwright born in St-Romuald, Quebec in 1945, whose work stresses not only plot but also the use of language, specifically joual. After courses in the classics at the Collège de Lévis where his first plays were presented, he went to Laval University in Quebec and joined Troupe des Treize in 1968. That same year, his play Et caetera was presented at the Dominion Drama Festival where it won two prizes. In 1969 he founded the Théâtre Quotidien de Québec, in effect launching his professional career. His plays have been presented here and abroad in translation and adaptation. His work Ben-Ur (first presented at the Théâtre Populaire du Québec , 1971) would also be a publishing success story with 30,000 sold. In 1971 he wrote an open letter to Ottawa saying, ‘I [no longer] have any intention of being polite, discrete or to avoid hurting anyone...When I will enter a place [from now on], I will dirty it up, I will be much too dirty for the red carpets of very many theatres.’ Many of the titles of his plays are puns or wordplay; ie: La Coupe Stainless (The Stainless Cup) or Le chant du sink (Swan song with a pun on cygne/swan/sink because one of the characters is a plumber.) Plays include: Le chemin de Lacroix, Goglu, Solange and Joualez-moi d'amour (all premiered at Théâtre Quotidien in 1970), Knock-out (Théâtre du Nouveau Monde , 1973), Le Chant du sink (Théâtre Populaire de Québec, 1973), Citrouille (Théâtre du Nouveau Monde, 1975), La Coupe Stainless (Piggery, 1974), Émile et une nuit (Théâtre du Rideau Vert , 1979), Les gars (Compagnie Jean-Duceppe , 1983). Several of his plays - including Ben-Ur, Le chemin/The Way of Lacross, Goglu, Solange and Les gars/The Guys - are available in translation from the Centre des auteurs dramatiques. Last updated 2006-10-03.”—Canadian Theatre Encyclopedia, http://www.canadiantheatre.com, accessed September 17, 2007.
• “Another early and enduring element of Francophone theatre was the genre of Théâtre Éngagé, also known as L'Engagement or ‘Commitment.’ At the end of the 19th century when French-Canadian theatre was in its infancy, there was a strong movement to make it committed to building and maintaining Québec's cultural identity. Many playwrights, companies and shows promoted this patriotic style by dramatizing the great moments of Québec's history, with themes focusing on the origins of New France, the Conquest, the 1937 Rebellion and the celebration of great heroes like Dollard des Ormeaux and Montcalm. The Commitment genre later took on the proportions of propaganda, preaching the benefits of colonization, abstinence, electoral behavior, French survival in North America and the value of missionary work. A new branch of Commitment developed in the 1950s and 1960s with the more populist works of dramatists such as Jean Barbeau, Jean-Claude Germain and Michel Tremblay. And from this, alternative and political elements in Québec theatre began to emerge and grow through to the 1980s when economic crisis put the crunch on many of the smaller companies, forcing them out of business. From its days of scarcity, Francophone theatre in Québec has struggled in recent times with the problem of there being too many companies competing in a market that hasn't expanded proportionately. Modern theatre was ushered in with Gratien Gelinas' ‘Tit-Coq’ in 1948, a story about an illegitimate orphan and the hardships he suffered in challenging contemporary Québec values. With this encouraging precedent set for modern theatre, litters of theatre de poche or pocket theatres opened such as the Théâtre du Nouveau Monde (1951) and Théâtre de Quat'Sous (1955). Even today there are some 110 professional and at least 400 amateur theatre companies operating in Québec. The Farhood's contribution to the culture of francophone theatre has held up over the years. The Théâtre Stella became the Théâtre Rideau Vert during the emergence of modern theatre. And after many overhauls and major renovations, it still exists as an active theatre to this today -- on the same spot where the Chanteclerc once stood, one of the oldest and enduring pillars in Québec theatre. Numerous directors, actors, dramatists, designer and playwrights have also emerged from Quebec's francophone tradition in theatre. Robert Lepage is perhaps the best known figure from the world of Québec theatre, famous and in demand world-wide for his experimental, multi-lingual and multi-media approach to theatrical production. Abla Farhoud, niece to Charles Farhood, has carried on the family tradition as one of Québec's foremost playwrights whose early works reflect her immigrant experiences of loss and regrowth.”–Opening Night - Sidebar: The Opening Act of Francophone Theatre in Québec, http://www.whitepinepictures.com/seeds/ii/23/sidebar.html, accessed September 17, 2007.
• Research could include Jean Barbeau’s “The Binge [originally Une brosse],” a 90-minute play in English, set in a barroom, Montreal, Quebec, Canada, 1975, 3m1f.
• Also, research could include Jean Barbeau’s The Guys,” a 120-minute comedy in English, set in a typical suburban backyard, Montreal, Quebec, Canada, 1984, 3m1f.
• Also, research could include Jean Barbeau in A Catalogue of Québec Playwrights and Plays in English Translation, Centre Des Auteurs Dramatiques, Montréal.
demonstration, education, employment, incarceration, victimization, social injustice, Stations of the Cross.