Dry Lips Oughta Move to Kapuskasing. CTE photo. Tomson Highway. Tragi- comedy drama in two acts by Tomson Highway, first produced in. Nominee, Governor General’s Literary Award for Drama Dry Lips Oughta Move to Kapuskasing tells another story of the mythical Wasaychigan Hill Indian. This article reconsiders the place of hockey within Tomson Highway’s play Dry Lips Oughta Move to Kapuskasing, ultimately arguing that the re-evaluative.

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She turns the appliance on with one last bump of her voluptuous hips.

The production then relocated to the Royal Alexandra Theatre inthe first work of aboriginal theatre on that stage. Reading theatre through the lens of professional sports thus offers new possibilities ,ips thinking about performance, audience experience, and socio-political impact. In fact, an unofficial requirement for women playing on the Wasy Wailerettes team is their biological status as mothers or mothers-to-be: There is too much going on, in fact. Generally, I did not enjoy reading this brutish play and would probably not recommend it to anyone except in rare or specific cases.

After the rape of Patsy Pegahmagahbow, an event traumatic to the characters as well as the audience given its violent nature and unapologetic staging, Pierre breaks down and cannot decide whether to find Dickie Bird or to continue searching for the lost puck. First Nations artists [.

Dry Lips Oughta Move to Kapuskasing – Wikipedia

The male characters are almost exclusively self-obsessed, even those who claim falsely to be progressing towards the goals of their wives. This play uses hockey to bind several misanthropic characters together in a play that is equal parts comedy and almost unbearably dark tragedy.

Jul 10, Helena rated it really liked it Shelves: The story is dream-like, chaotic and without order. Through the Trickster character and narrative, Highway challenges European colonial imperialism.

Funny and Emotional, but so worth the read.

But from the first couple bits of dialogue I was going oooh boy, here we go again on another mindfudge trip. The arena thereby becomes a space that straddles both tradition and Western influence, a space claimed by tradition from such influence.

So reading Dry Lips was a pleasure to see some of the male characters, who had been mentioned ,ips the earlier play. I read it to try to pick a short Canadian play for my intro English course this summer. He has in effect substituted a mindless addiction to Christianity for an addiction to alcohol, and uses his religion to intimidate others, such as Dickie Bird Halked, who uses the crucifix as a weapon of sexual kapuskaaing against Patsy.


Post-colonial stages are particularly resonant spaces from which to articulate linguistic resistance to imperialism. While the female hockey players remain unseen to the audience, we hear both the sounds of pucks hitting the boards and the women shouting at the same time as we see the men screaming at them from the bleachers and Big Joey broadcasting the game.

The audience, sharing the same conceptual space as lkps hockey arena, is encouraged to recognize that Dry Lips is a call for action— a cue, an arrow, and not a victory.

He is fluent in French, English and his native Cree. Weird mixture of comedy and disturbing kapus,asing.

But prepare to be exhausted when you’re through. I didn’t enjoy it — it is extremely disturbing and depressing at points — but it is authentic and well-written.

“Voyeurism and Gendered Violence in Dry Lips Oughta Move to Kapuskasing” by Erica Parnis

Mapuskasing the Rez Sisters too! Although the mood darkens with the rape of Patsy Pegahmagahbow and the death of Simon Starblanket, and the Rez descends into chaos with the playing of the hockey game, harmony is eventually restored when Dr awakens from his nightmare — which has comprised the preceding action in the play.

Last updated Since OctoberAthabasca University has hosted the web site, with an editorial board of theatre scholars from across Canada. The Plays of Tomson Highway. But there is so much power in the various strands that the play transcends its confusions and creates moments that are among the most emotionally riveting that I have seen this theatre season.

The negatives are a little harder to put your finger on. I didn’t understand what was dty on in certain scenes. Linda Hutcheon and Marion Richmond.

The Plays of Tomson Highway. Just a moment while we sign you in to your Goodreads account. Important for any notion of cultural hybridity is that of code-switching.

I think I’m done with Highway. Filewod argues that it is tempting for non-Native audiences to interpret Native plays as representations of authentic Nativeness, especially when encountering the stark differences between their cultures. When I first read it I thought it was dark and scary, but the second time it was sincere and tragic. Early in the play, Pierre St. I really enjoyed the Rez Sisters when I read it years ago and expected I would like this just as much.


Canadian Theatre Encyclopedia

And damn if it isn’t important. But I wonder how a native woman dramatist would tell this tale. Instead, Dry Lips leaves the reader with a sense of realism. The characters within are brutally uncouth not only to each other but to the presumed audience as well. Further, as Robidoux argues, rather than simply an instance of assimilation, the First Nations approach to the game reflects their own cultural heritage and values, alongside those of the European colonizer: Mike Chaulk Concordia University.

Dec 06, Emily Andrews rated it it was amazing Shelves: His deft portrayal of a First Nations community is at turns hilarious, searing, and unbearably tragic. Residential school survivor, classical pianist, social worker and, since the s, playwright, librettist, novelist and children’s author. Nanabush is performed as various manifestations of women who embody both the despair and the hope of the Rez: Short, deep, comic, depressing, thought provoking.

However, with Dry LipsHighway seems aware of these temptations and attempts to derail their possibilities; just as the Wailerettes recode the game of hockey for their own purposes in order to provide for a better fit for themselves, Highway employs the Trickster, Nanabush, to disrupt conventional Western play aesthetics.

Wailing is a wordless cry taken up by the community, and adopted by the female hockey players to mark their own participation in the disruption—a kind of concretizing of the abstract sound of wailing. Included within this play are various topics which are brushed upon to tease readers and audiences alike, without ever giving up a gratifying or even satisfactory resolution.

Muddy Cows is particularly interesting in its focus on a group of female rugby players whose locker room discussions explore their sexuality and the misogyny or, at the least, chauvinism they face as female athletes.

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