Réception and Indigenous representation: French colonial theatre in Nouvelle France 1606-1727

Goodell, Emily Margaret

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https://hdl.handle.net/2142/124392 Copy

Description

Title

Réception and Indigenous representation: French colonial theatre in Nouvelle France 1606-1727

Author(s)

Goodell, Emily Margaret

Issue Date

2024-04-26

Director of Research (if dissertation) or Advisor (if thesis)

Stevens, Andrea

Doctoral Committee Chair(s)

Stevens, Andrea

Committee Member(s)

• Robinson, Valleri
• Rand, Jacki
• Molldrem Harkulich, Christiana

Department of Study

Theatre

Discipline

Theatre

Degree Granting Institution

University of Illinois at Urbana-Champaign

Degree Name

Ph.D.

Degree Level

Dissertation

Keyword(s)

• Theatre
• Indigenous
• Colonial
• New France
• History
• Native American

Abstract

Through the exploration of French-Colonial réceptions, I examine the political, religious, and theatrical relations between colonists and Natives. These réceptions are an amateur drama style in which dignitaries were received before a feast with songs, prose, and verse. Each has key dramatic elements making them unique theatrical practices which I outline in detailed analysis of the individual scripts alongside analyses of each as singular events. Combined with their intense socio-political overtones and indigenous characters, each réception indicates distinct colonial frameworks across Nouvelle France. For the first and most popular piece, Théâtre de Neptune (1606), I extend previous translation work and analysis by placing it beside the other réceptions and noting various treaties and religious edicts put in place post-performance by those in attendance. Secondly, I translate La Réception D’Argenson (1658) and dive into linguistic comparisons, audience responses, shifting political ties, and relationships with the homeland. Finally, I translate and analyze an untitled réception which I call MSV (1727). MSV intimately reflects on the gendered religiosity and indoctrination process of Nouvelle France. Together, the performances demonstrate a progression of Franco-Native relations and the mounting power dynamics between European crowns and the Catholic Church over Native bodies. This dissertation contributes to Colonial Studies, Indigenous Studies, and Theatre History in three ways: first, my use of Indigenous scholars in addition to colonial studies in order to analyze these performances, second, my two translations with attention to the Indigenous and Colonial nuances of the time, and third, my historical speculation on the staging of each piece.

Graduation Semester

2024-05

Type of Resource

Thesis

Copyright and License Information

Copyright 2024 Emily Goodell

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