Acadian theatre refers to theatrical productions that originate from or are perceived as originating from Acadia. Acadia includes the northern and eastern parts of the Canadian province of New Brunswick, as well as isolated localities in Prince Edward Island, Newfoundland and Labrador, and Nova Scotia. It also refers to Acadian diaspora communities in Quebec and the United States; people of Acadian descent are also found in France, the Falkland Islands, and the Caribbean. Acadia is not officially recognized but forms a nation through its language, culture, institutions, and symbols. The most prominent playwright is Antonine Maillet, whose play La Sagouine has been staged over two thousand times, with Viola Léger as the sole Actor.

History The inaugural theatrical production, Théâtre de Neptune, was created by Marc Lescarbot in 1606. However, the theatre did not emerge again for two centuries due to the challenging socio-economic and political context. Nevertheless, the oral tradition continued to flourish, with evening gatherings and their storytellers exerting a significant influence that can still be observed today. From 1864 onwards, Acadian colleges began to develop theatrical activities, with notable examples including the establishment of St. Joseph College in Memramcook by Camille Lefebvre. Professors such as and created viral plays, often with nationalist or religious themes. Parish productions also emerged, though their focus was not on playwriting, with only Pascal Poirier and James Branch writing real plays. The first independent troupes were founded in the 1950s, marking a decline in the influence of colleges and the Church.

The production of by Antonine Maillet in 1968 is regarded as the inaugural event in the history of Acadian theatre. The following year, a drama program was established at the Université de Moncton, which produced numerous artists and craftsmen. The troupes Les Feux Chalins and the Théâtre Amateur de Moncton were founded in the same year. In 1971, Antonine Maillet's La Sagouine achieved remarkable success following its staging at the Théâtre du Rideau Vert in Montreal in 1972.

The , the inaugural professional troupe, was established in 1974 in Caraquet. Its productions included by and Calixte Duguay, and Le Djibou by . The was established in 1977 in Moncton, providing a significant platform for the work of multidisciplinary artist Herménégilde Chiasson. Antonine Maillet continued her career in both theatre and literature. The Acadian theatre diversified in genres and themes. The TPA focused on repertoire, while Théâtre l'Escaouette favored creation. Playwriting improved, but the lack of Acadian texts was a significant challenge.

The challenging economic climate of the 1980s compelled the to cease operations in 1989, three years after its establishment, while other troupes canceled productions. The troupes redirected their efforts towards productions for children, where Herménégilde Chiasson's texts were particularly noteworthy. In 1992, the Théâtre du Pays de la Sagouine was established in Bouctouche, based on Antonine Maillet's work, which she continued to supply with texts. Over time, the number of plays published increased. Theatre underwent a resurgence in the mid-1990s, with the establishment of new troupes, including in 1996, and the emergence of new playwrights such as Gracia Couturier. However, Herménégilde Chiasson retained a significant influence. The presence of Quebec productions attracted criticism. Nevertheless, a few new financial and critical successes, including the revival of Louis Mailloux, and the founding of festivals, highlighted distinctly Acadian creations.

Origins

In 1606 Marc Lescarbot presented Théâtre de Neptune in Port-Royal, a nautical fantasy in Alexandrines commemorating the arrival of Jean de Poutrincourt in Acadia. This is likely the first play produced in North America.

For nearly three centuries following Marc Lescarbot's time, Acadia had no theatre. The slow population growth and strategic Acadian situation, which resulted in numerous wars, explain why the texts produced are not comparable to those of Canada or France. There were few artists and no professional or community organizations, and the Deportation of the Acadians (1755–1763) did not favor this either. The English, who took possession of a portion of Acadia in 1713, introduced their culture to the region, yet the Acadians were largely isolated from this influence.

After the Deportation, there was no further literature produced by the Acadians. However, an oral tradition flourished, resulting in the preservation of stories, legends, and songs that continue to be passed down to the present day. Evening gatherings, particularly during the winter months, were a popular pastime, often involving a storyteller. The Acadians became a minority and were dispersed across the three Maritime Provinces. Their Catholic faith contributed to the establishment of several organizations. A rudimentary school system began to emerge in the mid-19th century.

College Theatre

St. Joseph College

CollegesThese institutions are traditionally described as colleges, but several have obtained university status. played a pivotal role in the evolution of theatre, particularly St. Joseph's College in Memramcook. While some sessions commenced from its inception in 1864, it was on October 11, 1866, that the superior, Camille Lefebvre, established the Académie Saint-Jean-Baptiste, the inaugural theatrical society in Acadia. He was inspired by similar academies in Quebec colleges he had attended and by his experience as a liseux or storyteller.

The academy was presided over by a student and directed by a professor, who also acted as the director. The choice of texts had to be approved by the college administration. The first president was , and the first director was G. Demers. Camille Lefebvre served as president from 1867 to 1872, a period during which the academy's rules were established. In 1894, a new constitution was adopted, which among other things, established committees. Another notable president was A.D. Cormier, who served from 1878. The academy's objective was to educate students in elocution and oratory and to promote the study of literature. Sessions were presented every month before other students and, on occasion, before the general public.

Pascal Poirier asserts that the academy presented "real theatre, with real plays," including works by Molière. Some of these plays were abridged. Melodramas and "homicidal tragedies" were the most favored genres by the administration. In the absence of available texts, professors and, on occasion, students occasionally composed their plays.

The public sessions were extremely popular, with attendance sometimes exceeding one thousand individuals in poorly ventilated rooms. Sessions commenced at approximately 6:30 p.m. and could last up to six hours, with the theatrical portion occupying only a portion of the evening. The remainder of the evening was devoted to singing, music, speeches, declamations, and other forms of entertainment. A tableau vivant was often performed after a performance to highlight the costumes and scenery. Students constructed their costumes, but in some instances, costumes were purchased in Montreal. Plays were presented in both English and French. Over time, performances became shorter and increasingly homogeneous in terms of language used. In 1874, for instance, Irish English-speaking students at the college founded the Saint-Patrick Literary and Dramatic Society. Given that the college was exclusively male, female roles were often played by boys, who were sometimes "masculinized" or outright eliminated. This practice was subsequently adopted by other institutions within the Francophone world. However, female students from were admitted from the 1950s onwards to perform female roles.

Following the death of Father Lefebvre, a decision was made to construct a new hall. The Monument Lefebvre was inaugurated in 1897. The inaugural major performance, the original production of Les Piastres rouges, took place on March 18, 1898, and enjoyed a prolonged period of popularity. A multitude of cultural events were held at the Monument Lefebvre, and theatrical performances were often secondary to declamation exercises. This led to the establishment of the Société bilingue in 1900. The academy was subsequently divided into three societies: the Cercle Stella Maris for philosophy and rhetoric, the Cercle Lefebvre (retaining the name Saint-Jean-Baptiste for initiates), and the Cercle Saint-Joseph for younger students. Theatrical activity continued with the presentation of "great pathetic and tearful dramas and light comedies," according to Jean-Claude Marcus. This was the era of vaudeville, operettas, and comic operas.

Molière's The Imaginary Invalid, directed by Father Leduc in 1941, contributed to the rehabilitation of college theatre. The prefect of studies, Father Clément Cormier, then proposed the establishment of a comprehensive drama program; in reality, only a few courses were offered. The subsequent main plays presented were Scapin the Schemer in 1946, followed by The Curse, The Passion, and The Poor Under the Stairs in 1949. There were no further plays presented in 1951, but a drama circle was established and presented Henri Ghéon's Christmas on the Square in December, followed by The Bourgeois Gentleman in 1952. In 1953, Father Maurice Chamard assumed the direction of The Bourgeois Gentleman, which garnered first prize at the provincial theatre festival in Fredericton and a second-place finish at a festival in Victoria. He replicated this success in 1954 in Fredericton with Scapin the Schemer and in 1956 in Newcastle with The Miser. In addition to the aforementioned plays by Molière, the circle also produced Jules Romains' Knock or the Triumph of Medicine.

In 1960, Father Jean-Guy Gagnon assumed leadership of the troupe La Cordée de la Rampe. The company existed for a relatively brief period, yet it presented many notable productions, including Paul de Néha's La Cloche d'argent, René William's L'Échelle de Saint-Joseph,'s The Comedian in the Fields, Molière's , Henri Ghéon's The Farce of the Hanged Man, Marcel Dubé's Zone, and Thornton Wilder's Our Town.

The University of Moncton was founded in 1963, and St. Joseph College became associated with it before its closure in 1972. Theatrical activities commenced in Moncton in 1966, with Luiz Saraïva offering drama classes and presenting a few plays to the public.

Saint-Louis College

The , located in Saint-Louis-de-Kent, opened its doors in 1874 and held several sessions, which were open to the public. The college was attended by French-speaking Acadians and a few English-speaking Irish students. Sessions were conducted in both languages, and roles were assigned regardless of the students' mother tongue, as they were proficient in both languages. However, following the session on July 5, 1882, Bishop James Rogers expressed his concerns to the audience, stating that the college was "too French" and that this was detrimental to English-speaking students. He subsequently closed the institution.

Sainte-Anne College