By S. L Titarenko
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Extra resources for A work of genius on ideilogical foundations of Bolshevism
Dube's plays became less complicated with time, but more and more cynical. Pauvre Amour (Poor Love), presented at the Comedie-Canadienne in 1968, presents two couples who travel aimlessly all over the world to relieve the monotony of their lives. Un Matin comme les autres (A Morning Like Any Other), produced at the Comedie-Canadienne the same season, revolves around two couples who talk a lot about Quebec politics 44 The Duplessis Era before exchanging partners for the night, Le Coup de I'etrier (One for the Road), which was produced at the Theatre du Rideau Vert in 1969, has as its hero a lonely man who spends much of his time getting drank in a bar, trying to forget his tight-lipped wife and the sorry state of the world.
His father, who has toiled to establish a decent life for himself and his family in a rugged, often hostile land, will have no part of Jean's plan which he sees as a rejection of his own way of life. Since neither Jean's sweetheart, Helene, nor his loving mother can persuade him to remain on the land, his father shoots him rather than have a "deserter" in the family. Although Jean's ambitions are the starting point of the play, it is really his authoritarian, unbending, and unfeeling father who is the central character.
The revues were presented at the Monument National, which had a seating capacity of more than one thousand. At a time when most plays had no more than five or six productions, Les Fridolinades usually ran for three or four weeks, with the most popular going on for several months. Fridolin, a young boy in short pants, and a tricolor hockey sweater just like that worn by the Montreal hockey team Les Canadiens, got French Canadians to laugh at themselves and pulled at their heart strings at the same time.