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She has composed several plays and has written a number of works on Marguerite de Roberval. Her play, I am Marguerite, premiered in Toronto in April How did your fascination with Marguerite de Roberval begin? It must have been about when I was looking for a new project.

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I had written a couple of plays for CBC Radio — one of them the story of the Jamaican Maroons who were exiled to Nova Scotia in the last decade rencontre femme roberval the 18th century — and I also had written several plays for young audiences.

I discovered the story of Rencontre femme roberval in a book rencontre femme roberval younger readers: This was pre-internet but I began painstakingly researching the story the old-fashioned rencontre femme roberval and pitched it to the Drama Department at CBC Radio. Marguerite de Roberval was broadcast in as five fifteen minute episodes on the nationwide program, Morningside.

L'intervention des Augustines de Roberval auprès des alcooliques Tradition: Christianisme Diocèse, association ou regroupement: Diocèse de Chicoutimi Communauté religieuse: Un centre de réadaptation pour le traitement des alcooliques est alors ouvert à Roberval.

It has rencontre femme roberval almost five hundred years since Marguerite de Roberval was supposedly marooned on an island in the Gulf of Saint Lawrence. In your opinion, why does her story continue to intrigue us today?

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It continues to intrigue because of its timeless emotional elements. Women continue to be abandoned, betrayed and suffer unbearable loss.

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The story also has the added factor of physical danger. We know how brutal the climate can be in this part of the world.

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But all of this would not be enough if Marguerite had not somehow found the will and the skills to survive. From your perspective, what is the importance of Marguerite de Roberval and her role in Canadian history and culture? But she has a more general importance than that. Some rencontre femme roberval argued that her experiences formed the groundwork for eventual successful European settlement in Canada.

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De Roberval and his settlers barricaded themselves in their fort, used their furniture for firewood in the depths of winter, suffered severely from scurvy until they did learn a cure from the nativesand many died from malnutrition and brutal treatment.

When he founded the settlement at Port Royal, he understood the importance rencontre femme roberval living off the land, and he founded The Fellowship of Good Cheer to psychologically help his compatriots rencontre femme roberval through the harsh winter.

What compelled you to rencontre femme roberval your own accounts of the events?

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When it came to the stage play, what continued to compel me was how contemporary Marguerite felt. There was much discussion of patriarchy and its role in oppressing women.

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There were women who worked within the framework of society as it existed, and those who fought for systemic change from the outside. There were heterosexual relationships struggling with the new realities of women who could be more powerful and better earners than their mates.

And, having spent 14 years living in England, I was very aware of the class divide that too often could separate women. Marguerite and the characters who peopled her story rencontre femme roberval to reflect rencontre femme roberval of these things.

Coming back to the tale all these years later, those elements are still lurking there, but pushed more to the forefront are some of the basic universal emotions: I am also more interested in exploring the style of storytelling now — in discovering rencontre femme roberval repetitive and layered language can add to an already fractured story.

And I wanted to create the opportunity for a more multi-media experience.

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You initially wrote the play, Marguerite de Roberval. Your second play about this compelling heroine, I am Marguerite, will premiere in Toronto in April Can you talk about your decision to write about Marguerite de Roberval not once, but twice?

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The radio play was called Marguerite de Roberval. So I started rencontre femme roberval on a play I called I am Marguerite, which I suggested could rencontre femme roberval done with two or with five actors. It was produced with two actors by Black Box Theatre in Prague in as part of a festival of new work.

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In or 5, director Molly Thom and Beggarly Theatre were planning a workshop prior to trying to get funding for a Toronto production of the play. Instead, she proposed commissioning me to pare the story down to its bare emotional elements and write the libretto как через инет можно заработать деньги an opera.

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I had been highly charged by the experience, and jumped at the opportunity to work in this new form with a story I was still very attached to. Could I take the pared down highly charged elements of the opera libretto and turn it back into a stage play? I was initially rencontre femme roberval.

How many times could I come back to this story? Did I have any more to say or explore? The result of this work is the production at the Alumnae in April of In both of your plays, rencontre femme roberval portray Marguerite de Navarre as having extensive contact with Marguerite de Roberval. I am fascinated by this intriguing possibility.

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Can you comment on your rencontre femme roberval for rencontre femme roberval this relationship into your texts? I think it was because I was also fascinated by the complex character of the Queen of Navarre, and her own tragic story.

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I wanted to include her. I believe I found rencontre femme roberval to the friendship of Jean-Francois and the Queen, and it seemed reasonable that he might want to palm his sister off on a good friend with high position and impeccable morals. In the play the Queen offers a needed counterpoint on the island. Your representation of contact between Marguerite de Roberval and the First peoples of Canada before her voyage is another compelling aspect of your work.

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Can you offer some reflections on your motivations for including this element in your rencontre femme roberval During the time I was first writing, cultural rencontre femme roberval and inclusion of native voices was a big issue here.

Also Ken Chubb and I had a long history of both non-traditional casting and giving space to non-white directors and writers when we were running the Tricycle Theatre and before that the Wakefield Tricycle Company in London, England.

I felt I had to acknowledge the fact that the so-called New World was already the rencontre femme roberval time home to many people.