空間對於加拿大原住民來說是一項很重要的議題。柯爾亨利斯（Cole Harris）在分析原住民空間時曾經提到：「對原住民而言，生活是運作空間策略的問題，而此空間策略也左右著他們的生存。」這句話顯示出殖民及帝國主義的空間支配對原住民、其文化及地方的巨大影響。引用傅科（Michel Foucault）對規訓力的研究，亨利斯藉由探討對原住民經濟活動與教育的限制、及傳教工作等，分析對原住民的空間限制。然而，這些殖民空間策略，深深地顯露出兩個不同文化與社會間的矛盾，使原住民陷入一種不可復原的困境，且幾乎讓原住民傳統消失殆盡。更深一層地，空間規訓力與其中的父權意識，在原住民土地上產生性別的議題。正如布朗特（Alison Blunt）和蘿絲（Gillian Rose）所主張：「性別空間平行於殖民空間，殖民統治的慾望常從性別統治中表現出來。」換句話說，原住民女性不只是在經濟及行動力上受到侷限，她們也被父權體制中所創造的性別空間所傷害。原住民女性必須被規訓成「正常女性」，同時，強暴與暴力行為也對她們造成莫大苦痛。因此，空間的議題不但顯現出空間與社會習慣之間的複雜關係，也提示在原住民土地上的空間、地方、種族、及性別議題。
本論文將探討湯森海威（Tomson Highway）劇本中的空間議題。湯森海威生於加拿大北曼尼托巴省的一克里族（Cree）家庭。從小就被送到殖民者所建立的駐民學校，遭受家庭分離且目睹殖民者對原住民的虐待。但同時他也從西方教育獲得知識，尤其是音樂與英語，讓海威能以此與人溝通並引用於他的戲劇中。除了因戲劇而獲得的名聲及獎項外，海威致力於提升原住民戲劇與服務原住民。他不僅關心原住民戲劇的表演，也把對原住民文化及社會問題的關切放入劇中。一方面，他的劇本融合了加拿大劇場中的寫實主義與原住民文化核心的神話學。原住民神話學表現出古老神祇與原住民間緊密的關係，在海威的戲劇中扮演重要角色。另一方面，當代原住民的生活及在保護區（reserve）中所發生的一切也成為海威劇本中的焦點。雖然劇情及角色是幽默且令人感動的，但藉由海威精細的戲劇空間策略，空間限制的巨大影響、差異及矛盾都被表現出來。更深一層地，海威在劇中也探討性別議題。原住民女性的苦痛，所受到的強暴及暴力行為—這些問題一再重複並依舊存在原住民的保護區中。海威不僅表達出他對原住民及其文化的想法，也專注在從保留區中所產生的文化與性別議題。
海威對在原住民空間中生活及議題的關注引發我對海威劇本的探究。本論文的第一章探討原住民空間的殖民歷史、女性主義對殖民及後殖民空間的概念、和人類地理學中的空間理論，特別是梅西（Doreen Massey）引起爭議的主張：「空間必需有多重性及多元性。」這樣的探討有兩個目的：一是顯出殖民主義的影響、空間的問題、以及在加拿大原住民空間中的社會問題；二是藉由梅西的空間理論，破壞由殖民統治所建構的規訓空間。第二章到第四章依序介紹海威的三部劇本，並分析劇本中的空間議題。除了分析海威在劇本中所用的空間策略外，重要的是去探討海威在劇本中如何從空間呈現種族及性別議題。我將會在這幾章裡探問海威如何破壞固定的空間，他如何創造不穩定、流動、和多元的空間以穿透真實與夢幻的世界，並給予原住民新的可能性。第五章總結以上三章的討論，並在研究海威戲劇的路程中，思考海威空間呈現的意義及他為原住民所開展的方向。本論文嘗試闡明海威劇本中空間的複雜結構，且由原住民及其社會的觀點來探討原住民空間中的問題。最重要的，希望藉由分析海威的文學呈現，開啟另一個新的方向，重新認識並進而瞭解加拿大原住民及他們珍貴的文化。

Space has been an important problem for Native people in Canada. When analyzing Native space, Cole Harris has pointed out, “for them [Native people], life became a matter of working out the spatial strategies that would allow them to survive” (Harris 274). This sentence reveals the devastating impact of spatial domination by colonialism and imperialism toward Native people, culture, and place. Applying Michel Foucault’s analysis of the modalities of disciplinary power to his argument, Harris analyzes the spatial confinement of Native people by examining restrictions of economic activities, education and missions, which fix people in small reserves, regulate movements, erase differences, and attempt to normalize “savages” into “civilized people.” These colonizing strategies of space, however, profoundly expose conflicts and paradoxes between two different cultures and societies, put Native people into an unrecoverable dilemma, and almost extinguish Native custom and tradition. Implicitly but tremendously, the disciplinary power of space, within its patriarchal and masculinist ideology, produces problems of gender in Native land. As Alison Blunt and Gillison Rose contend, “the construction of a ‘sexual space’ paralleled the construction of space to be colonized, and the desire for colonial control was often expressed in terms of sexual control” (10). That is, Native women aren’t simply confined in economy and mobility, but they are controlled and even harmed by the patriarchal system within this “sexual space.” Native women should be disciplined as “normal women,” but at the same time, rape and violence from White and Native men make them suffer more than ever. In other words, the problem of space indicates the complicated relation between space and social practices, and intricate issues of space, place, race, and gender in Native land.
This thesis will investigate the problem of space in the plays of Tomson Highway. Born in a Cree family in northern Manitoba but sent away to a residential school, Highway suffered the separation from his own culture and witnessed White abuse to Native people. But in the meanwhile, he benefited from Western education, especially in music and English, which were used to communicate with others and which were eventually fused into his plays. Besides winning many awards (such as the Dora Mavor Moore Award, the Chalmers Award, etc.) and being celebrated for his plays, he dedicates himself to promote Native drama and theatre and to serve Native people. He is concerned not just about theatrical performance but also about Native culture and social problems which are all connected within his plays. His plays, on the one hand, drop the realism often found in Canadian theatre and blend in Native mythology which is the core of Native culture. Native mythology plays an important role that expresses the close connection between ancient spirits and Native people, the reality and the dream world in his works. On the other hand, Highway focuses on the contemporary life of Native people and events on the reserve in his plays. Though the plots and characters are often hilarious, funny and touching, the great impact of the spatial confinement, differences and conflicts between two systems are presented by means of Highway’s delicately dramatic strategies of space. Beyond those problems, Highway deals with gender issues throughout his plays. Native women’s suffering, rape, violence—those issues are repeatedly mentioned and are still tremendous on the reserve. Highway doesn’t simply express his ideas about Native culture and people; he also emphasizes radical issues of race and gender that are produced from this confining space, i.e. the reserve.
Highway’s concerns about life and issues on Native space and his representation of space motivate me to investigate his plays. Chapter One of this thesis discusses the colonizing history of Native space, colonial and postcolonial geographies from feminist perspectives, and the theory of space in human geography, especially Doreen Massey’s provocative suggestion that “space necessarily entails plurality and multiplicity” (in other words, that “space is not a coherent system of discriminations and interconnections”) (Gregory 772). This discussion has two purposes: one is to reveal the influence of colonialism, the problem of space, and social problems on Native space in Canada, and the other is, by applying Massey’s theory of space, to destabilize the fixed and regulated space constructed and dominated by the colonial power. Chapter Two to Four introduce and analyze Highway’s plays and investigate space throughout them individually and chronologically, from The Rez Sisters (1988), Dry Lips Oughta Move to Kapuskasing (1989), to the latest play Rose (2003). In addition to talking about Highway’s dramatic strategies of space (with characters, plots, lighting, and stage properties), it is important to show how Highway represents issues of gender and race. In these chapters, I will ask how he breaks the fixed space and creates unstable, flexible, and multiple spaces which penetrate the real and the dream world and offer new possibilities for Native people. Chapter Five concludes the discussion of these three plays and, within the journey of investigating Highway’s plays, meditates upon the significance of his representation of space and the direction he opens for Native performance and Native people. This thesis attempts to articulate the complex structure of space in Highway’s plays and investigate problems from the perspective of Native people and societies. Most importantly, it will open another perspective, through the analysis of literary representation, to understand Native people and culture in Canada.

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