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Sherrill Grace is a professor of English and theatre at the University of British Columbia. She is former President, Academy I, of the Royal Society of Canada. She has lectured widely in North America, as well as in Germany, Italy, England, Belgium, France, China and Japan.
A member of several professional associations, such as the Association of Canadian Studies, the Canadian Association of American Studies, the Association of Canadian College and University Teachers of English, the Canadian Comparative Literature Association, the Modern Languages Association and the International Association of Professors of English, Grace was awarded the prestigious Killam Teaching Prize in 2008, and in 2009 she received the Ann Saddlemyer Award for her biography Making Theatre: A Life of Sharon Pollock. In 2013 Grace was appointed to the Order of Canada for her contributions to Canadian culture.
January 2014 : UBC Alumni Book Club Reads They Called Me Number One
January 2014 : Sherrill Grace Appointed to Order of Canada
BOOK AWARDSMaking Theatre
Winner of the 2009 Ann Saddlemeyer Award”
QUOTES OF NOTEStrange Comfort
“ … transcend[s] the intellectual boundaries … in culture and the arts through cross-disciplinary collaboration.”
— _Canada Council”
QUOTES OF NOTEMaking Theatre
“An absorbing biography that confronts the realities of writing lives with all of the detours, diversions and distractions. Sherrill Grace involves the reader in the process of discovering her subject and how life transforms itself to the stage. This is a work that reveals the complementary roles of an important playwright, actor, director and artistic director in the often uncertain world of the Canadian theatre. This is a biography that not only crosses Canada but disciplines.”
— Ira Nadel
“Rich in detail and nuanced understanding, Sherrill Grace’s Making Theatre establishes a new standard for theatrical biography. A profound meditation on the power of theatre, the art of storytelling and the cost of creativity, this expert study of a life lived publicly and communally succeeds in probing Pollock’s multi-layered psychological drama while holding up a mirror to our geography and history. Grace’s insightful exploration of the vanished artefact of theatrical performance and the traces of Pollock’s successive re-inventions of herself is unrivalled.”
— Patricia Demers
”Sherrill Grace’s Making Theatre: A Life of Sharon Pollock is a great read: beautifully crafted, detailed, and compelling. It is also a thoroughly researched and deeply empathetic account of the life and work of a feisty, opinionated, and deeply committed woman who is arguably Canada’s greatest playwright. This book is required reading for anyone interested in the movement that forever changed the face of Canadian theatre in the 1960s, 70s, and beyond. It is also the life story of a great woman whose will and determination have consistenty resisted the assimilation of her feminist, anti-racist politics into mainstream platitudes. The woman Grace so brilliantly showcases here is a strong, independent, and outspoken model for us all.”
— Ric Knowles
"The approach thoughtfully chosen and developed with particularly original pizzaz by Grace to tell the Pollock story is a skilful blending of multiple contexts and a weaving of a dazzling array of impeccably verified facts, accounts of personal events and issues beginning in Pollock’s early years, analyses of plays, rehearsals, and performances, discussions of political and ethical stakes embedded in moments of history, reminders of exciting developments across the anglophone theatre landscape in Canada, and probing queries into the meaning of concepts and practices such as dramaturgy, writing, theatricality, autobiography and biography."
—Louise H. Forsyth
QUOTES OF NOTETheatre and AutoBiography
“For the student of life writing in any genre, these essays will provide useful test cases and variations on a wide range of theories of auto/biography current in the field. And for the student of theatre, these studies of the narratives of real life will provide compelling material to think through the epistemologies of performance, ranging from suspended disbelief to political and representational efficacy.”
We gratefully acknowledge the financial support of the Canada Council for the Arts; the Government of Canada through the Canada Book Fund (CBF); and the Province of British Columbia through the British Columbia Arts Council for our publishing activities.