Spotlight Bibliography

Appleford, Robert. “The Desire To Crunch Bone: Daniel David Moses And The ‘The
True Indian’.” Canadian Theatre Review 77 (1993): 21-26.

---. “The Indian ‘Act’: Postmodern Perspectives On Native Canadian Theatre.” Diss.
University of Toronto, 1999.

Baker, Marie Annharte. “An Old Indian Trick Is To Laugh.” Candian Theatre Review
68 (1991): 48-49.

Baumander, Lewis. “Deathless, Timeless, Living On In Others.” Candian Theatre
Review 68 (1991): 19-21.

Beaupre, Therese. “Indigenous Peoples: Speaking With Pride.” Canadian Theatre
Review 29 (1981): 24-45.

Blackburn, Lisa. “But Who’s Dennis Miller?” Canadian Theatre Review 73 (1992): 32.

Blondin, John. “Feeling As Opposed To Memorizing One’s Role.” Canadian Theatre
Review 73 (1992): 7-9.

Brask, Per and William Morgan, Eds. “Aboriginal Voices: Amerindian, Inuit & Sami
Theatre.” Canadian Theatre Review 78 (1994): 66.

Burke, Marie. “Indigenous Theatre School First Of Its Kind In Canada.” Windspeaker
16.6 (1998): 24.

---. “James Buller Awards Excellence In The Arts.” Windspeaker 17.4 (1999): 13.

Campbell, Wanda. “The Rumour Of Humanity: An Interview With Daniel David
Moses.” Windsor Review 27.2 (1994): 55-63.

Conlogue, Ray. “Expressing Native Issues, With And Without Drama.” Rev of Coyote
City. Globe And Mail (19 May 1988): C6.

Cote, Abby. “New Season Launched (20th Season Launched With Fund Raiser).”
Windspeaker 19.4 (2001): 28.

Cowan, Cindy. “Beast Of The Land.” Editorial. Canadian Theatre Review 73 (1992): 3.

---. “The Trap Of Cultural Specificity: Seeking Intercultural Solidarity.” Canadian
Theatre Review 73 (1992): 24-28.

---. “On Independence And Survival: David Qamaniq In Conversation With Cindy
Cowan.” Canadian Theatre Review 73 (1992): 18-21.

Debenham, Diane. “Native People In Contemporary Canadian Drama.” Canadian
Drama/L’Art Dramatique Canadien 14.2 (1998): 137-158.

Devereux, E. J. “The Beothuk Indians of Newfoundland.” Dalhousie Review 50 (1970-
71): 350-62.

Drennan, Barbara. “Theatre History-Telling: New Historiography, Logic And The Other
Canadian Tradition.” Theatre Research In Canada 13.1-2 (1992): 46-62.

Elton, Heather. “Classic Adapted for Modern Day Cree.” Sage Writer 2.5 (1998): 8.

Enright, Robert. “To Dynamize The Audience.” Canadian Theatre Review 47 (1986):
41-49.

Flather, Patti. “Nakai Theatre Ensemble.” Canadian Theatre Review 73 (1992): 42-44.

---. “The Yukon Writer’s Festival: Building A Northern Literary Voice.” Canadian
Theatre Review 73 (1992): 51-53.

Glapp, Albert Reiner. Interview. “Margot Kane, Daniel David Moses, Yvette Nolan,
Drew Hayden Taylor Four Native Playwrights From Canada In Interview With
Albert Reiner Glaap, Dusseldorf.” Anglistik 7.1 (1996): 5-25.

Goldie, Terry. “Interview With Daniel David Moses and Drew Hayden Taylor.” Open
Letter 8.8 (1994): 41-51.

Gray, R.W. “The Nice Thing About Being Two-Spirited Is It Exists Despite The
Patriarchy.” ARC 42 (1999): 29-39.

Green, Pamela. “Theatre Artist Stretches Limits Of Native Drama.” Saskatchewan Sage 2.3 (1997): 3.

Kimble, Ross. “Theatre Company A Success By Any Standard.” Saskatchewan Sage 6.3 (2001): 8, 18.

King-Odjig, Alanis. “To Keep The Seventh Fire Lit: Script Development At De-Ba-Jeh-Mu-Jig.” Canadian Theatre Review 87 (1996): 17-18.

Lauzon, Jani. “Quest For Kindling.” Candian Theatre Review 68 (1991): 90.

Lilley, David. “Youth Theatre Takes A New Look At An Old Story.” Saskatchewan Sage 5.9 (2001): 5.

Makaryk, Irena R. "Introduction." Shakespeare In Canada: ‘A World Elsewhere’? Ed.
Diana Brydon and Irena R. Makaryk. Toronto: University of Toronto Press, 2002.
30-32.

Moore, Don.  "Specters of Nationhood:  Canadian Adaptations of Shakespeare by Two Diasporic Writers."  Unpublished.  University of Guelph.  15 May 2004.

Moses, Daniel David. “’Adam’ Means ‘Red Man’.” n.d. Forum For Dialogue. 6
November 2002.

---. “Almighty Voice And His Wife: A Play In Two Acts.” Canadian Theatre Review 68
(1991): 64-80.

---. “How My Ghost Got Pale Faces.” Speaking For The Generations:
Native Writers On Writing. Ed. Simon J. Ortiz. Tucson: University of Arizona
Press, 1998.

Moses, Daniel David and Terry Goldie. "Preface." Two Voices. Ed. Daniel David Moses
and Terry Goldie. Toronto: Oxford University Press, 1992.

“Native Earth Performing Arts: Playwrights/Directors.” n.d. About Native Earth. 24
September 2002.

http://webhome.idirect.com/~naterth/yvette.html

“Native Playwright Inspires Students.” Windspeaker 14.7 (1996): 13.

Nunn, Robert. “Hybridity And Mimicry In The Plays Of Drew Hayden Taylor.” Essays
On Canadian Writing. 65 (1998): 95-119.

Salton, Denis. “On Native Ground: Canadian Theatre Historiography and The
Postmodernism/ Postcolonialism Axis.” Theatre Research In Canada 13.1-2
(1992): 134-143.

Sexsmith, Pamela. “Big Bear A Tragic Hero In New Play By Manitoba Chief.” Sage
Writer 4.11 (2000): 8.

---. “Classical Influences Shapes Work.” Windspeaker 4.4 (2000): 14.
“Shakespeare, First Nation Style.” Raven’s Eye. 4.6 (2000): 2.

Sidney, Angela. “It All Begins With A Story.” Canadian Theatre Review 73 (1992): 4-5.

Smith, Michael. “Theatre Companies Find A Home.” Windspeaker 14.10 (1997): 1.

Spry, Lib. “But Not In Canada?” Canadian Theatre Review 47 (1986): 50-55.

Taylor, Drew Hayden. “Alive And Well: Native Theatre In Canada.” Journal Of
Canadian Studies 31.3 (1996): 29-37.

---. “Legends On The Stage.” Maclean’s (19 October 1987): 69.

---. “There’s A Trickster Behind Every Nanabush.” Toronto Star (3 June 1995): J6.

Trujillo, Raoul. “Memory And Remembering.” Candian Theatre Review 68 (1991): 22
23.

Wagg, Shane L. “The Native Art Scene Is Healthy And Growing In To.” Kainai News
(17 February 1988): 18.

Wheeler, Jordan. “A Revolution In Aboriginal Theatre: Our Own Stories.” Canadian
Theatre Review 66 (1991): 8-12.