I don't suppose there is a country in the world where a playwright has such a tremendous field for modesty as Canada

I don't suppose there is a country in the world where a playwright has such a tremendous field for modesty as Canada

Robertson Davies, a renowned Canadian playwright, once famously remarked, "I don't suppose there is a country in the world where a playwright has such a tremendous field for modesty as Canada." This statement speaks volumes about the unique position that Canadian playwrights find themselves in, especially in comparison to their counterparts in other countries.

Canada, with its vast and diverse landscape, multicultural population, and rich history, provides a wealth of inspiration for playwrights. From the rugged beauty of the Rocky Mountains to the bustling streets of Toronto, there is no shortage of material for Canadian playwrights to draw upon. This abundance of inspiration allows Canadian playwrights to explore a wide range of themes and topics in their work, from the personal to the political, the historical to the contemporary.

Despite this wealth of material, Canadian playwrights often find themselves working in relative obscurity. Unlike their counterparts in countries like the United States or the United Kingdom, Canadian playwrights do not enjoy the same level of recognition or financial support. As a result, many Canadian playwrights struggle to make a living from their work, often having to juggle multiple jobs to support themselves.

This lack of recognition can be both a blessing and a curse for Canadian playwrights. On the one hand, it allows them the freedom to experiment and take risks in their work, without the pressure of commercial success or critical acclaim. On the other hand, it can be frustrating for Canadian playwrights to see their work go unnoticed or unappreciated, both at home and abroad.

Despite these challenges, Canadian playwrights like Robertson Davies continue to produce innovative and thought-provoking work that reflects the unique cultural landscape of Canada. Their modesty, as Davies suggests, is not a sign of weakness, but rather a testament to their dedication to their craft and their commitment to telling stories that are meaningful and relevant to Canadian audiences. In this sense, Canadian playwrights have a tremendous field for modesty, but also a tremendous field for creativity and artistic expression.