National Performance: Representing Quebec from Expo 67 to Celine Dion

‘This compelling and lucidly written study makes an important contribution to Quebec and Canadian Studies, as it is certain to change the way we will henceforth recognize a performance as being "national."’

Pamela V. Sing, Canadian Literature

'Erin Hurley makes a major contribution to Canadian and Quebec Studies with her carefully argued exploration of how theatrical and cultural performances have over the past half-century focused international attention on evolving notions of québécité and legitimized Quebec's aspiration to nationhood. Through the critical lens of performance and cultural studies and postcolonial and feminist theories, Hurley reads and theorizes the architecture of Montreal Expo 67, the nouveau theatre inaugurated by Michel Tremblay, the culture immigré proposed by Italo-Quebec writer Marco Micone, the imagistic dance theatre of Carbone 14, the mega-stardom of Céline Dion, and the impact of feminist theatre on Quebec public discourse.' Jane Moss, Director of the Centre for Canadian Studies, Duke University, and Editor, Québec Studies

'National Performance is an engaging, sophisticated, and inventive look at the evolution of Quebec cultural forms. Erin Hurley's analysis is an important update on conceptions of the national in Quebec.' Sherry Simon, Département d'études françaises, Concordia University