ABSTRACT
This chapter shows how Bouchard's play is rendered neither as a Quebec play nor a queer one in J translation theatre, but a textured JQ translation receptive to multiple meanings. The meaning of translation theatre in Japan also needs to be pried open so that it is not construed simply as shingeki but interrogates Western theatre translations through the lens of performance, in order to interpolate the troubled somatic relations that often travel with plays written in conflicted tongues. The chapter focuses at Uchino's cognitive map of 'J' theatre. It discusses the Studio Life production, which intentionally blurred the specifics of location and the politics of language and translation in Michel Marc Bouchard's Les Feluettes. Gaboriau translates Vallier's nickname as 'Lily-White', a variant on her translation of the title of the play: 'Feluette' is a word someone of an older generation might use, a Quebec distortion of the word 'fluet' or 'fluette' which means frail or delicate.
