Lindsay Lachance

Assistant Professor, Theatre Studies |
Research Area

About

Dr Lindsay Lachance is an award-winning dramaturge and an Assistant Professor in the Department of Theatre and Film at UBC. Lindsay has played a leading role in the creating and direction of the Indigenous Theatre department at Canada’s National Arts Centre as the first Artistic Associate. She earned a PhD in Theatre from the University of British Columbia and, in January 2018, successfully defended her dissertation titled “The Embodied Politics of Relational Indigenous Dramaturgies.” Lindsay’s academic work exists at the intersections of Indigenous Theatre and Critical Indigenous Studies, where she celebrates and supports Indigenous theatre theory and dramaturgical structures. In honouring her Algonquin Anishinaabe ancestry, Lachance’s dramaturgical practices are influenced by her relationships to birch bark biting and the Gatineau River.

Lachance’s dramaturgical practice has her collaborating with artists and scholars from across the country. As a practicing dramaturge, Lachance workshops and tests dramaturgical techniques and principles she has researched and developed with both emerging and established theatre artists. Recently, these workshops have led to plays being published with Playwrights Canada Press and others having world premieres at The Royal Manitoba Theatre Centre, Tarragon Theatre and Gwaandak Theatre. Dramaturgy as a relational process is central to her interest in using dramaturgical events and gatherings as specific areas of analysis.

Her academic work explores Indigenous approaches to developing Indigenous theatre, as practiced by her in her dramaturgical processes with Indigenous and non-Indigenous theatre artists and students. Lindsay looks at how Indigenous material cultures and Anishinaabeg values, specifically birch bark biting and The Seven Grandfather Teachings, can be used as starting points to build dramaturgical models.

Some ongoing and recent dramaturgical projects includeYolanda Bonnell’s My Sister’s Rage, Frances Koncan’s Women of the Fur Trade, Quelemia Sparraw’s Skyborn, and Kim Senklip Harvey’s Kamloopa: An Indigenous Matriach Story. Together with playwright Kim Senklip Harvey, they won the 2019 Jessie Richardson award for Significant Artistic Achievement for Decolonizing Theatre Practices and Spaces. This award was specifically given to acknowledge the dramaturgical methods and processes Lachance developed for Kamloopa: An Indigenous Matriarch Story, which later went on to win the 2020 Governor General’s Literary Award for Best Drama.

As a co-applicant with University of Alberta’s Dr. Selena Couture, Lindsay received a SSHRC Insight Development Grant called “Decolonizing Performative Re-enactments of History”. This project is ongoing.  She was also awarded a 2018 SSHRC Indigenous Research Capacity and Reconciliation Grant as a co-application with Indigenous Performing Arts Alliance and Electric Company Theatre. This research focused on creating tools and tips for Indigenous and non-Indigenous theatrical collaborations. In 2014, Lindsay was recognized as a Bombardier scholar and received annual SSHRC funding for her doctoral research.

Currently, Lindsay is the Director of Native Earth Performing Arts’ Animikiig Creators Unit, a two-year development program for emerging Indigenous creators. She also holds ongoing partnerships with the Banff Centre for Arts and Creativity where she is a returning Guest Faculty with Indigenous Arts. Lindsay is a board member for Literary Managers and Dramaturgs of the Americas Canada and Theatre Research in Canada.

Lindsay has been working with youth for over 15 years at summer camps, community centres, The Native Youth Program at the UBC Museum of Anthropology and the Indigenous Youth Residency Program at the Art Gallery of Ontario.  She has participated at conferences and events hosted by The National Arts Centre, The PuSh Festival, Indigenous Performing Arts Alliance, the Audain Gallery at SFU, Native Earth Performing Arts, Full Circle First Nations Performance, Carleton University, The Literary Managers and Dramaturgs of the Americas Association, Canadian Association for the Performing Arts (CAPACOA), and the International Society for Performing Arts.

Lindsay honours the gifts and teachings that Indigenous women before her have offered and is motivated to honour and support the next generation of leaders.

SELECTED PUBLICATIONS 

“Mom as Community in Tara Beagan’s Honour Beat.” Toronto: Special Issue on Age and Performance. Eds. Julia Henderson, Ben Gillespie and Nuria Casado. Theatre Research in Canada, Forthcoming

“Tiny Sparks Everywhere: Radical Relationships in Land-Based Dramaturgies.” Theatre After the Explosion. Eds. Signy Lynch and Thea Fitz-James. Canadian Theatre Review, no. 186. Spring 2021

“Dreaming of Rivers, Beavers and Birch Trees: Resurgence Theory in Émilie Monnet’s Okinum.” Eds. J Ellen Gainor and Catherine Burroughs. London: The Routledge Anthology of Women’s Theatre Theory and Dramatic Criticism, Forthcoming

“Building a World through Anishinaabeg Values: Refusals in Frances Koncan’s Zahgidiwin/Love.” Voices of a Generation: Three Millennial Plays. Ed. Michelle Macarthur, Toronto: Playwrights Canada Press, 2021

“Transformational Kinstellatory Relations and the Talking Stick Festival.” Toronto: Theatre Research in Canada, 2019 

“Sovereignty, Spirituality and Resurgence: A proud Indigenous Theatre Community.” Toronto: Canadian Theatre Review, University of Toronto Press, 2017 

“A Journey Through Indigenous Dramaturgies and Spiritual Times in Joseph A. Dandurand’s Please Do Not Touch the Indians”. Past Lives: Performing Canada’s Histories. Ed. Heather Davis-Fisch, Toronto: Playwrights Canada Press, 2017 

“Medicine Shows: Indigenous Performance Culture Review” For University of Toronto Quarterly: ‘Letters in Canada 2015’ (Issue 86.3, Summer 2017) 

“Floyd Favel’s Native Performance Culture as Indigenous theatrical methodologies”. Les Arts Performatifs et Spectaculaires des Premieres Nations de L’Est du Canada. Ed. Dubois, Jerome & Dalie Giroux. L’Harmattan Presse, Paris. 2014

 


Teaching


Lindsay Lachance

Assistant Professor, Theatre Studies |
Research Area

About

Dr Lindsay Lachance is an award-winning dramaturge and an Assistant Professor in the Department of Theatre and Film at UBC. Lindsay has played a leading role in the creating and direction of the Indigenous Theatre department at Canada’s National Arts Centre as the first Artistic Associate. She earned a PhD in Theatre from the University of British Columbia and, in January 2018, successfully defended her dissertation titled “The Embodied Politics of Relational Indigenous Dramaturgies.” Lindsay’s academic work exists at the intersections of Indigenous Theatre and Critical Indigenous Studies, where she celebrates and supports Indigenous theatre theory and dramaturgical structures. In honouring her Algonquin Anishinaabe ancestry, Lachance’s dramaturgical practices are influenced by her relationships to birch bark biting and the Gatineau River.

Lachance’s dramaturgical practice has her collaborating with artists and scholars from across the country. As a practicing dramaturge, Lachance workshops and tests dramaturgical techniques and principles she has researched and developed with both emerging and established theatre artists. Recently, these workshops have led to plays being published with Playwrights Canada Press and others having world premieres at The Royal Manitoba Theatre Centre, Tarragon Theatre and Gwaandak Theatre. Dramaturgy as a relational process is central to her interest in using dramaturgical events and gatherings as specific areas of analysis.

Her academic work explores Indigenous approaches to developing Indigenous theatre, as practiced by her in her dramaturgical processes with Indigenous and non-Indigenous theatre artists and students. Lindsay looks at how Indigenous material cultures and Anishinaabeg values, specifically birch bark biting and The Seven Grandfather Teachings, can be used as starting points to build dramaturgical models.

Some ongoing and recent dramaturgical projects includeYolanda Bonnell’s My Sister’s Rage, Frances Koncan’s Women of the Fur Trade, Quelemia Sparraw’s Skyborn, and Kim Senklip Harvey’s Kamloopa: An Indigenous Matriach Story. Together with playwright Kim Senklip Harvey, they won the 2019 Jessie Richardson award for Significant Artistic Achievement for Decolonizing Theatre Practices and Spaces. This award was specifically given to acknowledge the dramaturgical methods and processes Lachance developed for Kamloopa: An Indigenous Matriarch Story, which later went on to win the 2020 Governor General’s Literary Award for Best Drama.

As a co-applicant with University of Alberta’s Dr. Selena Couture, Lindsay received a SSHRC Insight Development Grant called “Decolonizing Performative Re-enactments of History”. This project is ongoing.  She was also awarded a 2018 SSHRC Indigenous Research Capacity and Reconciliation Grant as a co-application with Indigenous Performing Arts Alliance and Electric Company Theatre. This research focused on creating tools and tips for Indigenous and non-Indigenous theatrical collaborations. In 2014, Lindsay was recognized as a Bombardier scholar and received annual SSHRC funding for her doctoral research.

Currently, Lindsay is the Director of Native Earth Performing Arts’ Animikiig Creators Unit, a two-year development program for emerging Indigenous creators. She also holds ongoing partnerships with the Banff Centre for Arts and Creativity where she is a returning Guest Faculty with Indigenous Arts. Lindsay is a board member for Literary Managers and Dramaturgs of the Americas Canada and Theatre Research in Canada.

Lindsay has been working with youth for over 15 years at summer camps, community centres, The Native Youth Program at the UBC Museum of Anthropology and the Indigenous Youth Residency Program at the Art Gallery of Ontario.  She has participated at conferences and events hosted by The National Arts Centre, The PuSh Festival, Indigenous Performing Arts Alliance, the Audain Gallery at SFU, Native Earth Performing Arts, Full Circle First Nations Performance, Carleton University, The Literary Managers and Dramaturgs of the Americas Association, Canadian Association for the Performing Arts (CAPACOA), and the International Society for Performing Arts.

Lindsay honours the gifts and teachings that Indigenous women before her have offered and is motivated to honour and support the next generation of leaders.

SELECTED PUBLICATIONS 

“Mom as Community in Tara Beagan’s Honour Beat.” Toronto: Special Issue on Age and Performance. Eds. Julia Henderson, Ben Gillespie and Nuria Casado. Theatre Research in Canada, Forthcoming

“Tiny Sparks Everywhere: Radical Relationships in Land-Based Dramaturgies.” Theatre After the Explosion. Eds. Signy Lynch and Thea Fitz-James. Canadian Theatre Review, no. 186. Spring 2021

“Dreaming of Rivers, Beavers and Birch Trees: Resurgence Theory in Émilie Monnet’s Okinum.” Eds. J Ellen Gainor and Catherine Burroughs. London: The Routledge Anthology of Women’s Theatre Theory and Dramatic Criticism, Forthcoming

“Building a World through Anishinaabeg Values: Refusals in Frances Koncan’s Zahgidiwin/Love.” Voices of a Generation: Three Millennial Plays. Ed. Michelle Macarthur, Toronto: Playwrights Canada Press, 2021

“Transformational Kinstellatory Relations and the Talking Stick Festival.” Toronto: Theatre Research in Canada, 2019 

“Sovereignty, Spirituality and Resurgence: A proud Indigenous Theatre Community.” Toronto: Canadian Theatre Review, University of Toronto Press, 2017 

“A Journey Through Indigenous Dramaturgies and Spiritual Times in Joseph A. Dandurand’s Please Do Not Touch the Indians”. Past Lives: Performing Canada’s Histories. Ed. Heather Davis-Fisch, Toronto: Playwrights Canada Press, 2017 

“Medicine Shows: Indigenous Performance Culture Review” For University of Toronto Quarterly: ‘Letters in Canada 2015’ (Issue 86.3, Summer 2017) 

“Floyd Favel’s Native Performance Culture as Indigenous theatrical methodologies”. Les Arts Performatifs et Spectaculaires des Premieres Nations de L’Est du Canada. Ed. Dubois, Jerome & Dalie Giroux. L’Harmattan Presse, Paris. 2014

 


Teaching


Lindsay Lachance

Assistant Professor, Theatre Studies |
Research Area
About keyboard_arrow_down

Dr Lindsay Lachance is an award-winning dramaturge and an Assistant Professor in the Department of Theatre and Film at UBC. Lindsay has played a leading role in the creating and direction of the Indigenous Theatre department at Canada’s National Arts Centre as the first Artistic Associate. She earned a PhD in Theatre from the University of British Columbia and, in January 2018, successfully defended her dissertation titled “The Embodied Politics of Relational Indigenous Dramaturgies.” Lindsay’s academic work exists at the intersections of Indigenous Theatre and Critical Indigenous Studies, where she celebrates and supports Indigenous theatre theory and dramaturgical structures. In honouring her Algonquin Anishinaabe ancestry, Lachance’s dramaturgical practices are influenced by her relationships to birch bark biting and the Gatineau River.

Lachance’s dramaturgical practice has her collaborating with artists and scholars from across the country. As a practicing dramaturge, Lachance workshops and tests dramaturgical techniques and principles she has researched and developed with both emerging and established theatre artists. Recently, these workshops have led to plays being published with Playwrights Canada Press and others having world premieres at The Royal Manitoba Theatre Centre, Tarragon Theatre and Gwaandak Theatre. Dramaturgy as a relational process is central to her interest in using dramaturgical events and gatherings as specific areas of analysis.

Her academic work explores Indigenous approaches to developing Indigenous theatre, as practiced by her in her dramaturgical processes with Indigenous and non-Indigenous theatre artists and students. Lindsay looks at how Indigenous material cultures and Anishinaabeg values, specifically birch bark biting and The Seven Grandfather Teachings, can be used as starting points to build dramaturgical models.

Some ongoing and recent dramaturgical projects includeYolanda Bonnell’s My Sister’s Rage, Frances Koncan’s Women of the Fur Trade, Quelemia Sparraw’s Skyborn, and Kim Senklip Harvey’s Kamloopa: An Indigenous Matriach Story. Together with playwright Kim Senklip Harvey, they won the 2019 Jessie Richardson award for Significant Artistic Achievement for Decolonizing Theatre Practices and Spaces. This award was specifically given to acknowledge the dramaturgical methods and processes Lachance developed for Kamloopa: An Indigenous Matriarch Story, which later went on to win the 2020 Governor General’s Literary Award for Best Drama.

As a co-applicant with University of Alberta’s Dr. Selena Couture, Lindsay received a SSHRC Insight Development Grant called “Decolonizing Performative Re-enactments of History”. This project is ongoing.  She was also awarded a 2018 SSHRC Indigenous Research Capacity and Reconciliation Grant as a co-application with Indigenous Performing Arts Alliance and Electric Company Theatre. This research focused on creating tools and tips for Indigenous and non-Indigenous theatrical collaborations. In 2014, Lindsay was recognized as a Bombardier scholar and received annual SSHRC funding for her doctoral research.

Currently, Lindsay is the Director of Native Earth Performing Arts’ Animikiig Creators Unit, a two-year development program for emerging Indigenous creators. She also holds ongoing partnerships with the Banff Centre for Arts and Creativity where she is a returning Guest Faculty with Indigenous Arts. Lindsay is a board member for Literary Managers and Dramaturgs of the Americas Canada and Theatre Research in Canada.

Lindsay has been working with youth for over 15 years at summer camps, community centres, The Native Youth Program at the UBC Museum of Anthropology and the Indigenous Youth Residency Program at the Art Gallery of Ontario.  She has participated at conferences and events hosted by The National Arts Centre, The PuSh Festival, Indigenous Performing Arts Alliance, the Audain Gallery at SFU, Native Earth Performing Arts, Full Circle First Nations Performance, Carleton University, The Literary Managers and Dramaturgs of the Americas Association, Canadian Association for the Performing Arts (CAPACOA), and the International Society for Performing Arts.

Lindsay honours the gifts and teachings that Indigenous women before her have offered and is motivated to honour and support the next generation of leaders.

SELECTED PUBLICATIONS 

“Mom as Community in Tara Beagan’s Honour Beat.” Toronto: Special Issue on Age and Performance. Eds. Julia Henderson, Ben Gillespie and Nuria Casado. Theatre Research in Canada, Forthcoming

“Tiny Sparks Everywhere: Radical Relationships in Land-Based Dramaturgies.” Theatre After the Explosion. Eds. Signy Lynch and Thea Fitz-James. Canadian Theatre Review, no. 186. Spring 2021

“Dreaming of Rivers, Beavers and Birch Trees: Resurgence Theory in Émilie Monnet’s Okinum.” Eds. J Ellen Gainor and Catherine Burroughs. London: The Routledge Anthology of Women’s Theatre Theory and Dramatic Criticism, Forthcoming

“Building a World through Anishinaabeg Values: Refusals in Frances Koncan’s Zahgidiwin/Love.” Voices of a Generation: Three Millennial Plays. Ed. Michelle Macarthur, Toronto: Playwrights Canada Press, 2021

“Transformational Kinstellatory Relations and the Talking Stick Festival.” Toronto: Theatre Research in Canada, 2019 

“Sovereignty, Spirituality and Resurgence: A proud Indigenous Theatre Community.” Toronto: Canadian Theatre Review, University of Toronto Press, 2017 

“A Journey Through Indigenous Dramaturgies and Spiritual Times in Joseph A. Dandurand’s Please Do Not Touch the Indians”. Past Lives: Performing Canada’s Histories. Ed. Heather Davis-Fisch, Toronto: Playwrights Canada Press, 2017 

“Medicine Shows: Indigenous Performance Culture Review” For University of Toronto Quarterly: ‘Letters in Canada 2015’ (Issue 86.3, Summer 2017) 

“Floyd Favel’s Native Performance Culture as Indigenous theatrical methodologies”. Les Arts Performatifs et Spectaculaires des Premieres Nations de L’Est du Canada. Ed. Dubois, Jerome & Dalie Giroux. L’Harmattan Presse, Paris. 2014

 

Teaching keyboard_arrow_down