{"id":2494,"date":"2020-06-29T14:43:24","date_gmt":"2020-06-29T18:43:24","guid":{"rendered":"https:\/\/radio100.moeb.ca\/radio-and-the-performing-arts\/"},"modified":"2022-02-08T10:54:07","modified_gmt":"2022-02-08T15:54:07","slug":"radio-and-performing-arts","status":"publish","type":"page","link":"https:\/\/radio100.moeb.ca\/en\/radio-and-performing-arts\/","title":{"rendered":"Radio and the performing arts"},"content":{"rendered":"\n\n\t

In May 2020, the annual conference of the Association for Recorded Sound Collections (ARSC) was meant to happen in Montreal. The team behind the Centennial of Broadcasting in Canada had arranged with the staff at McGill University’s Marvin Duchow Music Library<\/a><\/strong>, also involved with the planning of the ARSC conference, to create an exhibition for conference participants. Even though the conference was eventually cancelled, in this page we offer the content that was meant to be displayed at the Music Library.<\/p>\n\t\t\tThe beginnings of broadcasting in Montreal<\/a>\n\t\t\t\t\t\t\tExpand<\/i><\/a>\n\t\t

The end of the First World War saw a return to civilian testing. Going forward, in addition to amateur radio operators, there were many others who had learned about wireless telegraphy during the war. Some obtained their amateur radio licence and could therefore receive wireless telegraph messages from different areas across the globe. Companies began creating stations that could transmit in amplitude modulation (AM).<\/p>\n

The world of wireless telegraphy transformed itself to make room for the wireless telephone, allowing two individuals, separated by geography, to communicate by voice. It was soon realized that the radio telephone not only allowed communication between two distant stations, but also that the instrument made it possible to reach thousands of\u00a0 people simultaneously. There was a rapid transition from radiotelephony to broadcasting.<\/p>\n

 <\/p>\n

\"\"
Many reports were published following the broadcast of May 20, 1920. Source : Montreal Daily Star May 21, 1920.<\/em><\/figcaption><\/figure>\n
\"\"
Advertisement for a “Concert” organized with the collaboration of Montreal record and gramophone manufacturer Berliner. Source: The Montreal Gazette, November 30, 1920.<\/em><\/figcaption><\/figure>\n

 <\/p>\n

In Montreal, the Marconi Wireless Telegraph Company of Canada obtained a licence for experimental broadcasting and using the call letters XWA, went on the air in December 1919 from a studio on William Street.<\/p>\n

In May 1920, it produced a radio program that featured some songs and speeches for Canadian scientists attending a Royal Society of Canada conference in Ottawa.<\/p>\n

Thereafter, radio programming became more frequent and better structured. In November 1920, less than a year after the debut of stationXWA, it was announced that the “Berliner Concert” would be broadcast. Another concert was also scheduled to be aired on December 31, 1920, which made it look like 1921 was going to be “the year of radio.”<\/p>\n\t\t\tBirth of commercial radio stations<\/a>\n\t\t\t\t\t\t\tExpand<\/i><\/a>\n

In 1922, the Government of Canada authorized the first operating licences for commercial radio stations. Some 21 permits were issued, beginning in April of that year. By December, there were 37 more. In Quebec, they included following stations: CKAC (La Presse), CFCF (Marconi), CJBC (Dupuis Fre\u0300res), CHYC (Northern Electric), CFZC (Canadian Westinghouse), CHCK (L.B. Silver), CKCS (Bell Telephone), CFUC (University of Montreal), CFCJ (L’E\u0301ve\u0301nement in Quebec City)(1).<\/p>\n

\"\"
Clipping from La Presse newspaper, October 2, 1922.<\/em><\/figcaption><\/figure>\n

In May 1922, the daily newspaper La Presse announced that station CKAC would commence broadcasting in the fall. The person responsible for this innovation was Jacques-Narcisse Cartier. Originally from Saint-Hyacinthe, Cartier first trained as a radio operator at the Marconi Wireless Telegraph Company in Nova Scotia. CKAC and CFCF, which replaced XWA, shared the same frequency for a number of years – something that was not uncommon at the time. The shared frequency resulted in both English and French programming being aired alternately at different times of day.<\/p>\n

Station CKAC proceeded with tests in September 1922 and the first official broadcast aired at the end of the month on Saturday September 30. La Presse reported the following:<\/p>\n

\"\"
Canada Cement Building, where CFCF station was located in 1922, with antenna on the roof.
Source: BANQ 3762248 CP023594<\/em><\/figcaption><\/figure>\n

“The Saturday evening program lasted, without interruption, from 7:00 to 11:30 p.m., courtesy of the Marconi company (station CFCF, in the Canada Cement Building) which took a break in their programming between 8:00 and 9:00 p.m. to allow station CKAC to air a continuous broadcast(2).”<\/p>\n

Radio broadcasting emerged at the speed of lightning. From the initial 20 or so starting in the spring of 1922, the number of commercial radio stations increased to more than 80 across Canada by 1928. The number of reception permits jumped from 1,200 to 760,000 between 1921 and 1931! The Canadian National Railway Company (CN) formed the first Canada-wide network of stations during this decade. It was partly because of this first network of radio stations that the Canadian Broadcasting Corporation (CBC), which included Montreal stations CBF and CBM, was established in 1936.<\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n—————-
\n1. Pierre Pag\u00e9,\u00a0 L’histoire de la radio au Qu\u00e9bec,\u00a0<\/em>Fides, 2006, p. 447.
\n2. La Presse, 2 octobre 1922, p. 17.\n\t\t\tOperas and symphony concerts<\/a>\n\t\t\t\t\t\t\tExpand<\/i><\/a>\n\t\t

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Casavant pipe organ installed at CKAC. Source: La Presse, January 27, 1923.<\/em><\/figcaption><\/figure>\n

During the 1920s, few disc recordings were made and the majority of them had been recorded mechanically, which resulted in poor acoustic quality. Since its inception, the CKAC studio was designed as a small concert hall, which made it possible to bring in musicians and broadcast live music. During the station’s inaugural concert, some 15 artists took turns at the microphone. And, on January 27, 1923, La Presse announced to its readers that its studio now had a Casavant pipe organ(1).<\/p>\n

The Marconi station, CFCF, was not to be outdone. In June 1922, it organized a Radio Week:<\/p>\n

“Tomorrow evening and every evening next week, at 8:30, we will offer a special radio concert at our six theatres in addition to our regular programming. Think about it! Singers, instrumentalists, and brass bands, from miles away, will cheer you up(2).”<\/p>\n

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Radio Week organized in various Montreal theatres in 1922. Source: La Presse, June 17, 1922.<\/em><\/figcaption><\/figure>\n

From February 1923, CKAC began a series of programs aimed at introducing music and songs from France to Montrealers. The series was under the direction of Raoul Vennat, a French-born music importer. Artists of the time, like soprano Anne-Marie Asselin or bass Armand Gonthier, performed contemporary compositions. In June 1923, CKAC broadcast its first operetta entitled Les Cloches de Corneville. The broadcast was a large- scale production in which the dozen soloists were surrounded by a 30-person choir and an orchestra with 25 musicians!<\/p>\n

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Dow Orchestra, in the 1920’s. Source: BANQ 4082627 CP027170<\/em><\/figcaption><\/figure>\n

In 1929, the station negotiated an agreement with the American network CBS. The agreement allowed CKAC to locally broadcast classical music concerts produced in large American cities, and even some in Europe. In return, the CKAC symphony orchestra, directed by Edmond Trudel, would be broadcast several times a week on the American network(3).<\/p>\n

Thus, music and opera have been on the radio since the very beginning.<\/p>\n

 <\/p>\n—————-
\n1. La Presse, 27 janvier 1923, p.15.
\n2. La Presse, 17 juin 1922.
\n3. Pag\u00e9, op.cit., p. 322.\n\t\t\tFolk and popular song<\/a>\n\t\t\t\t\t\t\tExpand<\/i><\/a>\n\t\t

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Cover of sheet music for the Eckstein song “Uptown 6303”. Source: Libray and Archives Canada, object 028011.<\/em> <\/p>\n

<\/figcaption><\/figure>\n

From the onset of the radio, stations had broadcast programs geared toward the middle and upper classes, given the high cost of receiving apparatuses. The stations, therefore, had typically broadcast classical music and opera for its new listeners. But as the price of radios decreased, the number of listeners grew in all socio-economic classes. In addition, in 1925 the quality of disc recordings improved as processes evolved. While discs were bought only by those who had a gramophone – and later a record player – at home, playing those same discs on the radio reached a larger and more distant audience.<\/p>\n

New artists appeared on the radio. One of the first was likely Willie Eckstein. Originally from Pointe- Saint-Charles, the ragtime musician and silent movie pianist would have been invited to play at the newly established station XWA.<\/p>\n

 <\/p>\n

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At the end of the 1920s folk music player Isidore Soucy is performing every week at CKAC (Pictured here with is son Fernando in the 1950s).<\/em><\/figcaption><\/figure>\n

In 1924, folklorist Conrad Gauthier performed on a radio program for the first time at Montreal station CKAC. Fiddler Isidore Soucy was on the air between 1926 and 1930 as part of the program Living Room Furniture<\/em> at CKAC(1). Other voices, like those of J. Hervey Germain, Jacques Aubert and Mary Travers, better known as La Bolduc, also performed on radio. In the 1940s, the young Marcel Martel sang on radio stations CHLN in Trois-Rivie\u0300res and CHEF in Granby(2).<\/p>\n

In the 1940s, Alys Robi became more and more popular among Montrealers with her Latin American repertoire. She performed live regularly at CKAC, and made some 78 rpm recordings(3).<\/p>\n

More efficient microphones allowed a new texture of sound to spread. Crooners, adept with the microphone, developed their own new sound. Lionel Parent and Jean Lalonde were among these new Quebec performers.<\/p>\n

 <\/p>\n

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Singer Alys Robi with orchestra during broadcasting of “Le tourbillon de la Gaite\u0301”, on CKAC, 1943. Source: BANQ, Fonds Conrad Poirier, P48S1P23025.<\/em> <\/p>\n

<\/figcaption><\/figure>\n

Also, several radio programs helped launch many careers. Guy Mauffette hosted Baptiste et Marianne in the 1950s, which provided Felix Leclerc an opportunity to perform. Throughout the 1940s and 1950s, the singer and composer Fernand Robidoux hosted several programs in Trois-Rivie\u0300res, Sherbrooke and Montreal, during which he introduced young Quebec singers, like Raymond Levesque(4).<\/p>\n

 <\/p>\n

One of the few English Canadian artists on the radio was Montreal native Alan Mills who hosted a CBC radio show called Folk Songs for Young Folk<\/em> from 1947 to 1959. The show promoted both English and French folk music. Unfortunately, most private English language radio stations were completely indifferent to Canadian singers, songwriters and bands until the formation of the Canadian Radio-Television Commission (CRTC)\u00a0in 1968, which forced radio stations to include Canadian content in their programming.<\/p>\n

 <\/p>\n—————-
\n1. Jean Du Berger, Jacques Mathieu et Martine Roberge, La radio \u00e0 Qu\u00e9bec, 1920-1960<\/em>, PUL, 1997, p. 145.
\n2. Retrieved from [http:\/\/lequebecunehistoiredefamille.com\/stars\/marcel-martel].
\n3. Retrieved from [http:\/\/www.qim.com\/artistes\/biographie.asp?artistid=231].
\n4. Jean-Nicolas De Surmont, \u00ab L’impact de la radiophonie commerciale sur la po\u00e9sie vocale qu\u00e9b\u00e9coise \u00bb, Revue internationale d’\u00e9tudes canadiennes<\/em>, nos 39-40, 2009, p. 75; Retrieved from [https:\/\/doi.org\/10.7202\/040823ar]\n\t\t\tTheater on the radio<\/a>\n\t\t\t\t\t\t\tExpand<\/i><\/a>\n

Throughout the 1920s, radio stations were only broadcasting a couple hours a week. Gradually, air time increased, and stations began diversifying their programs. A few news bulletins were introduced (in the evening as to not interfere with the sale of morning newspapers), as well as stock market numbers and sketches and plays. On April 5, 1923, CKAC broadcast a play by Louis Frechette entitled Fe\u0301lix Poutre\u0301<\/em>, and then another La male\u0301diction<\/em>, in June of that same year.<\/p>\n

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Source: La Presse, April 5, 1923.<\/em><\/figcaption><\/figure>\n

In 1929, the program L’Heure Provinciale<\/em> was aired on CKAC. This educational feature, under the direction of Edouard Montpetit, was subsidized by the Quebec government. Each week, the program offered a number of speakers, as well as musicians, composers and Quebec writers. Musician and playwright Henri Letondal and actress Juliette Beliveau hosted the program for 10 years. It helped increase the popularity of a number of musicians, like Lionel Daunais and Claude Champagne, as well as Quebec authors Robert Choquette and Jovette Bernier.<\/p>\n

 <\/p>\n

In 1939, Guy Mauffette produced Grandes e\u0301missions du the\u0301a\u0302tre contemporain<\/em> on CBF, the relatively new CBC station in Montreal. Other programs in the same genre were introduced on CBF. At the beginning, these programs aired mostly classical repertoire, but gradually expanded to include works from Quebec, notably in programs like Entre\u0301e des artistes<\/em>, Radio the\u0301a\u0302tre Ford<\/em> and L’e\u0301quipe aux quatre vents<\/em>. By the end of the Second World War, radio theatre from Quebec writers Pierre Dagenais and Fe\u0301lix Leclerc, alongside Shakespeare, Racine, Chekhov or Corneille, was being broadcast(1).<\/p>\n

The Radio Colle\u0300ge<\/em> program was broadcast on CBC from 1941 to 1956, during which it varied from four to eight hours a week. Over the years, a number of courses and lectures covering various academic fields were presented, as well as courses on French and international theatre, and music courses covering anything from music theory to Mozart and opera(2).<\/p>\n

\"\"
Actors reading “The Runaway Princess” theatre play at CFCF, 1942. Source : BANQ Fonds Conrad Poirier, P48S1P8389<\/em>.<\/figcaption><\/figure>\n

During the 1950s, the show Nouveaute\u0301s dramatiques<\/em>, directed by Guy Beaulne and broadcast on CBF, was intended as a dramatic writing workshop for radio. Several writers participated, including Yves The\u0301riault, Yvette Naubert, Fe\u0301lix Leclerc, Marcel Dube\u0301, Louis- Georges Carrier, Louis-Martin Tard and Claude Jasmin.<\/p>\n

Then, Billet de faveur<\/em>, Flagrant de\u0301lit<\/em>, Le the\u0301a\u0302tre de Que\u0301bec<\/em>, Le the\u0301a\u0302tre de poche<\/em>, and Studio d’essai<\/em> followed on CBF. This helped new writers, like Hubert Aquin and Jacques Languirand, gain popularity throughout the 1960s. Similarly, young actors, like Robert Gadouas, sat behind the microphone.<\/p>\n

Throughout the 1970s, the CBC continued to broadcast radio theatre, notably during the program Premie\u0300res<\/em> between 1970 and 1986, and La Feuillaison<\/em>, where works by Jacques Godbout, Pierre Turgeon, Normand Chaurette, Arlette Cousture and many others were introduced.<\/p>\n

 <\/p>\n—————-
\n1. Ren\u00e9e Legris, Histoire des genres dramatiques \u00e0 la radio qu\u00e9b\u00e9coise<\/em>, Montr\u00e9al, Septentrion, 2011, p. 131
\n2. Pierre Pag\u00e9 \u00ab Le th\u00e9\u00e2tre de r\u00e9pertoire international \u00e0 Radio-Coll\u00e8ge (1941-1956) \u00bb, L’Annuaire th\u00e9\u00e2tral<\/em>, no 12 (automne 1992), p. 53-87; retrieved from [https:\/\/doi.org\/10.7202\/041175a].\n\t\t\tThe first radio dramas<\/a>\n\t\t\t\t\t\t\tExpand<\/i><\/a>\n

Being a successful new form mass media, it is not surprising that in its first years, radio adapted the printed serial novel into the radio drama(1).<\/p>\n

\"\"
“La pension Veleder” actors, Amanda Alarie, Armand Leguet, Henri Poitras, Cle\u0301ment Latour et Juliette Be\u0301liveau. Source: Ren\u00e9e Legris, Histoire des genres dramatiques \u00e0 la radio qu\u00e9b\u00e9coise, Septentrion, 2011.<\/em><\/figcaption><\/figure>\n

In Quebec, starting in 1935, the first francophone heroes could be followed daily in a radio drama. Robert Choquette, poet, novelist and screenwriter, wrote the French-language radio show Le cure\u0301 du village<\/em>(2). It was on the air every evening for 15 minutes between January 1935 and June 1938 on station CKAC(3). The first season was a great success and it had good ratings in the second season. The show became a real social phenomenon, with city dwellers and rural residents gathering together with neighbours to listen(4).<\/p>\n

This literary genre would experience phenomenal success in Quebec. Americans called it “soap opera” because programs were generally sponsored by manufacturers of household or personal hygiene products.<\/p>\n

\"\"
“Un homme et son pe\u0301che\u0301”, soap-opera written by Guy Mauffette (at the console with a technician). At the microphone: Hector Charland and Estelle Mauffette. Albert Daemen as sound effects artist. Source: Ren\u00e9e Legris, Histoire des genres dramatiques \u00e0 la radio qu\u00e9b\u00e9coise, Septentrion, 2011.<\/em><\/figcaption><\/figure>\n

Robert Choquette wrote other radio dramas like La Pension Velder<\/em> and Me\u0301tropole<\/em>. Soon, works from Claude-Henri Grignon (Un homme et son pe\u0301che\u0301<\/em>), Henry Deyglun (Vie de famille<\/em>), Jean Desprez, known by his pen name of Laurette Larocque (Jeunesse Dore\u0301e<\/em>, Yvan l’intre\u0301pide<\/em>), Louis Morrisset (Grande s\u0153ur<\/em>, Vers le soleil avec tante Lucie<\/em>, Rue des pignons<\/em>, Face a\u0300 la vie<\/em>), Roger Lemelin (La famille Plouffe<\/em>), Genevie\u0300ve Gue\u0300vremont (Le survenant<\/em>) and Franc\u0327oise Loranger (La vie commence demain<\/em>) to name just a few, played on the radio.<\/p>\n

The genre also gave many actors the opportunity to make themselves known to a larger audience. Le cure\u0301 du village<\/em> featured performers, including Denise Pelletier, Juliette Be\u0301liveau, Marjolaine He\u0301bert, Paul Gue\u0300vremont, Ovila Le\u0301gare\u0301, Roland Chenail, Yvette Brind’Amour and Guy Mauffette, who would become well-known to the general public.<\/p>\n

\"\"
Actors of “La famille Plouffe” soap-opera, Paul Gue\u0300vremont, Amanda Alarie, Denise Pelletier, E\u0301mile Genest, Jean-Louis Roux and Pierre Valcourt. Source: Ren\u00e9e Legris, Histoire des genres dramatiques \u00e0 la radio qu\u00e9b\u00e9coise, Septentrion, 2011.<\/em><\/figcaption><\/figure>\n—————-
\n1. Soap operas were common in 19th-century newspapers, where readers could follow the adventures of their favourite heroes every day.\u00a0Competition between daily newspapers was fierce, and this form of mass culture was selling copies.\u00a0Some of the serials were by beginners, but great authors such as Zola, Balzac and Maupassant also contributed to this popular literary genre.
\n2. Pag\u00e9, op.cit.<\/em>, p. 377.
\n3. Retrieved from [https:\/\/fr.wikipedia.org\/wiki\/Le_Cur%C3%A9_de_village_(radio)]
\n4. Idem.<\/em>\n\t\t\tA particular genre: humour<\/a>\n\t\t\t\t\t\t\tExpand<\/i><\/a>\n

Quebecers love comedy shows today and this has been true for a long time! Humorous sketches first appeared on French-language radio at the beginning of the 1930s and they were the forerunners to the trendy radio dramas that began to be broadcast at the end of the decade.<\/p>\n

\"\"
Gratien Ge\u0301linas, author of “Fridolinons” with actress Monique Lepage and Guy Mauffette, producer. Early 1940s. Source: Ren\u00e9e Legris, Histoire des genres dramatiques \u00e0 la radio qu\u00e9b\u00e9coise, Septentrion, 2011.<\/em><\/figcaption><\/figure>\n

“Robert Choquette and Alfred Rousseau were the first comedy writers. Humorous programs Au coin du feu<\/em> (1931-1932) and Le Vieux Raconteur<\/em> (1932-1933) focused on painting a picture of the social environment of the rural and regional world. L’Auberge de la fore\u0302t noire<\/em> aired between October and December 1933, and in 1935 on CHLP, and L’Auberge des chercheurs d’or<\/em> by Alfred Rousseau, aired on CKAC and CKCH between October 1934 and March 1935, presented a series of sketches in a narrative continuity with recurring characters. A humorous series by Alfred Rousseau, Les Aventures de quatre domestiques<\/em>, was broadcast on CHLP between September and December 1936(1).”<\/p>\n

\"\"
Georges Bouvier and Ovila Le\u0301gare\u0301, actors in “Nazaire et Barnabe\u0301” serial, circa 1943. Source: Ren\u00e9e Legris, Histoire des genres dramatiques \u00e0 la radio qu\u00e9b\u00e9coise, Septentrion, 2011.<\/em><\/figcaption><\/figure>\n

Besides the authors mentioned above, people like Gratien Ge\u0301linas, Ovila Le\u0301gare\u0301, Henri Deyglun, Claude Robillard and E\u0301douard Baudry wrote a lot of radio comedy. Sketches made for the radio were sometimes satirical. Throughout the 1940s, E\u0301mile Coderre created the character Jean Narrache in his series Re\u0302veries de Jean Narrache<\/em>, which was broadcast across several Quebec stations. The writings of Jovette Bernier led to the series of humorous sketches Quelles nouvelles<\/em> between 1939 and 1956.<\/p>\n

“Without a doubt, it was the program Chez Miville<\/em> (1956-1970), created by Paul Legendre, that we find the greatest diversity of comedy styles. Each writer – Albert Brie, Louis-Martin Tard, Michel Dudragne, Jean Ste\u0301phane, Louis Pelland, Louis Landry – had developed a concept of comedy that expressed their vision of the world(2).”<\/p>\n

The importance of Les joyeux troubadours<\/em>, a CBF program that aired daily from 1941 to 1977, cannot be overlooked. The show resembled a variety program with humorous scripts and jokes.<\/p>\n

\"\"
Paul-E\u0301mile Corbeil and E\u0301mile Coderre, in
the serial “Jean Narrache”, 1944. Source: Ren\u00e9e Legris, Histoire des genres dramatiques \u00e0 la radio qu\u00e9b\u00e9coise, Septentrion, 2011.<\/em><\/figcaption><\/figure>\n

Throughout the 1970s and 1980s, comedy shows appealed to actors who saw radio as an essential stepping stone for their careers. Just think of how famous Tex Lecor and his associates (Roger Joubert, Louis-Paul Allard, Pierre Labelle) became as part of the Nouveau festival de l’humour que\u0301be\u0301cois<\/em> (New Festival of Quebec humour) that was broadcast weekly between 1974 and 1989 at CKAC, and Rock et Belles Oreilles<\/em> (Guy A. Lepage, Richard Z. Sirois, Chantal Francke, Bruno Landry, Yves P. Pelletier and Andre\u0301 Ducharme), which debuted on CIBL-FM community radio in 1981.<\/p>\n

 <\/p>\n

 <\/p>\n—————-
\n1. Legris, op. cit.<\/em>, p. 58.
\n2. Pag\u00e9, cited on Legris, op. cit.<\/em>, p. 66.\n\t\t\tIn English Canada: distinguishing itself from Americans<\/a>\n\t\t\t\t\t\t\tExpand<\/i><\/a>\n

Accessing radio reception of American stations was relatively easy in Canada. The American stations had powerful financial and technological resources while those of Canadian stations were limited. Therefore, for Canadian English-language stations, since language was not an obstacle, they regularly bought programming from American stations instead of producing their own.<\/p>\n

\"\"
Johnny Wayne and Frank Shuster performing in a CBC radio broadcast of the “Army Show”, 1944. Source : Fonds du minist\u00e8re de la D\u00e9fense nationale, PA – 152118.<\/em><\/figcaption><\/figure>\n

In order to counter this invasion, Canadian networks were formed first around Canadian National Railway Company (CN) radio stations. This network was replaced in 1932 with the arrival of the Canadian Radio Broadcasting Commission (CRBC), which itself was replaced in 1936 by the English-language network of the Canadian Broadcasting Corporation<\/strong> (CBC).<\/p>\n

This new network allowed for the creation of Canada-wide programs, such as the variety show The Happy Gang, the family radio show The Craigs and, of course, Hockey Night in Canada. However, it was during the Second World War that CBC programs became very popular.<\/p>\n

Several war-related soap operas emerged: Theatre of Freedom, Fighting for Navy, and Soldier’s Wife are a few examples. Theatre pieces by different Canadian English-language writers, like Andrew Allan, Esse Ljungh, Rupert Caplan and J. Frank Willis were also broadcast. Even comedy shows were popular during the war with duo Wayne and Shuster debuting in 1941(1).<\/p>\n

\"\"
“The Happy Gang” radio show actors.<\/em><\/figcaption><\/figure>\n

 <\/p>\n—————-
\n1. Retrieved from [https:\/\/www.collectionscanada.gc.ca\/publications\/archivist-magazine\/015002-2131-e.html] \n\t\t\tA theater for the blind<\/a>\n\t\t\t\t\t\t\tExpand<\/i><\/a>\n

The strength of the radio drama certainly depended on the quality of writing and on its performers, but it also depended on the added sound effects. As Robert Choquette said, “The theatre on the radio is a theatre for the blind(1).”<\/p>\n

\"\"
Sound effects artist Roger Langlois during a broadcast of “Les secrets du Dr Mohranges”, CBF, 1946. Source: BANQ, Fonds Conrad Poirier, P48S1P23179.<\/em><\/figcaption><\/figure>\n

“Suddenly, the sounds of the street were heard, the rumours escaping from a snack bar or a restaurant, the atmosphere of a country household, or the family brouhaha at mealtime; in these recreated universes, the listener rocked like in a dream and his imagination activated a thousand pictures(2).”<\/p>\n

Sound effects creators are an artist on their own right. Some, like Marcel Gigue\u0300re, whose beginnings on radio date back to 1939, became known to the general public by also making a career as an actor.<\/p>\n

“The name Marcel Gigue\u0300re is now ranked among the most useful craftsmen on the radio. In addition to his noisemaking qualities, (a profession that he possesses) Marcel Gigue\u0300re possessed innate comic gifts. He has a very big imagination and has so much talent to spare that he can afford to give valuable advice to directors(3).”<\/p>\n

 <\/p>\n

\"\"
Sound effects artist at work during a “Nazaire et Barnabe\u0301” radio broadcast, 1941. Source: BANQ, Fonds Conrad Poirier, P48S1P22993.<\/em><\/figcaption><\/figure>\n

 <\/p>\n—————-
\n1. Du Berger et al., op. cit.<\/em>, p. 228.
\n2. Idem, p. 232.
\n3. Radiomonde<\/em>, 27 juillet 1946, p. 8.\n\t\t\t\t\"Eaton\n\t

Eaton’s catalogue 1926-1927     <\/strong><\/em>By 1926, the T. Eaton Company had understood the various forms of entertainment that radio could bring to the home. They are drawn here on the membrane of a cone speaker.<\/em><\/p>\n\n","protected":false},"excerpt":{"rendered":"

In May 2020, the annual conference of the Association for Recorded Sound Collections (ARSC) was meant to happen in Montreal. The team behind the Centennial of Broadcasting in Canada had arranged with the staff at McGill University’s Marvin Duchow Music Library, also involved with the planning of the ARSC conference, to create an exhibition for […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","ngg_post_thumbnail":0,"footnotes":""},"class_list":{"0":"post-2494","1":"page","2":"type-page","3":"status-publish","5":"entry"},"acf":[],"yoast_head":"\nRadio and the performing arts - Centennial of broadcasting in Canada<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/radio100.moeb.ca\/en\/radio-and-performing-arts\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Radio and the performing arts - Centennial of broadcasting in Canada\" \/>\n<meta property=\"og:description\" content=\"In May 2020, the annual conference of the Association for Recorded Sound Collections (ARSC) was meant to happen in Montreal. The team behind the Centennial of Broadcasting in Canada had arranged with the staff at McGill University’s Marvin Duchow Music Library, also involved with the planning of the ARSC conference, to create an exhibition for […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/radio100.moeb.ca\/en\/radio-and-performing-arts\/\" \/>\n<meta property=\"og:site_name\" content=\"Centennial of broadcasting in Canada\" \/>\n<meta property=\"article:modified_time\" content=\"2022-02-08T15:54:07+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/06\/19200520_Daily_Star-1024x947.jpg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"19 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/radio100.moeb.ca\/en\/radio-and-performing-arts\/\",\"url\":\"https:\/\/radio100.moeb.ca\/en\/radio-and-performing-arts\/\",\"name\":\"Radio and the performing arts - Centennial of broadcasting in Canada\",\"isPartOf\":{\"@id\":\"https:\/\/radio100.moeb.ca\/en\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/radio100.moeb.ca\/en\/radio-and-performing-arts\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/radio100.moeb.ca\/en\/radio-and-performing-arts\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/06\/19200520_Daily_Star-1024x947.jpg\",\"datePublished\":\"2020-06-29T18:43:24+00:00\",\"dateModified\":\"2022-02-08T15:54:07+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/radio100.moeb.ca\/en\/radio-and-performing-arts\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/radio100.moeb.ca\/en\/radio-and-performing-arts\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/radio100.moeb.ca\/en\/radio-and-performing-arts\/#primaryimage\",\"url\":\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/06\/19200520_Daily_Star-1024x947.jpg\",\"contentUrl\":\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/06\/19200520_Daily_Star-1024x947.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/radio100.moeb.ca\/en\/radio-and-performing-arts\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/radio100.moeb.ca\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Radio and the performing arts\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/radio100.moeb.ca\/en\/#website\",\"url\":\"https:\/\/radio100.moeb.ca\/en\/\",\"name\":\"Centennial of broadcasting in Canada\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/radio100.moeb.ca\/en\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Radio and the performing arts - Centennial of broadcasting in Canada","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/radio100.moeb.ca\/en\/radio-and-performing-arts\/","og_locale":"en_US","og_type":"article","og_title":"Radio and the performing arts - Centennial of broadcasting in Canada","og_description":"In May 2020, the annual conference of the Association for Recorded Sound Collections (ARSC) was meant to happen in Montreal. 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Les organisateurs du Centenaire de la radiodiffusion au Canada avaient convenu avec la <strong><a href=\"https:\/\/www.mcgill.ca\/library\/branches\/music\" target=\"_blank\" rel=\"noopener\">biblioth\u00e8que de musique Marvin Duchow<\/a><\/strong> de l’Universit\u00e9 McGill, partenaire dans l’organisation du congr\u00e8s de l’ARSC, d’organiser une exposition sur la radio destin\u00e9e aux congressistes. Le congr\u00e8s ayant d\u00fb \u00eatre annul\u00e9, nous vous pr\u00e9sentons ici l’exposition qui aurait d\u00fb avoir lieu \u00e0 la biblioth\u00e8que.<\/p>\n<p>Cette exposition illustre comment, d\u00e8s son d\u00e9but, la radio a permis \u00e0 la musique, le chant et le th\u00e9\u00e2tre de faire leur entr\u00e9e dans tous les foyers.<\/p>\n\t\t\t<a href=\"#\" id=\"fl-accordion--label-0\" tabindex=\"0\" aria-controls=\"fl-accordion--panel-0\">La radiodiffusion: ses d\u00e9buts \u00e0 Montr\u00e9al<\/a>\n\t\t\t\t\t\t\t<a href=\"#\" id=\"fl-accordion--icon-0\" tabindex=\"0\" aria-controls=\"fl-accordion--panel-0\"><i>Expand<\/i><\/a>\n\t\t<p>La fin de la Premi\u00e8re Guerre mondiale marque la reprise des essais civils. D\u00e9sormais, en plus des radio-amateurs, on compte plusieurs op\u00e9rateurs qui, durant la guerre, se sont familiaris\u00e9s avec la t\u00e9l\u00e9graphie sans fil (TSF). De nombreuses personnes obtiennent leur licence de radio-amateurs. Elles peuvent alors capter les messages TSF provenant de diff\u00e9rentes r\u00e9gions du globe. Des entreprises montent des postes pouvant \u00e9mettre en amplitude modul\u00e9e (AM).<\/p>\n<p>Le monde de la t\u00e9l\u00e9graphie sans fil se transforme ainsi pour faire place au t\u00e9l\u00e9phone sans fil, permettant \u00e0 deux personnes g\u00e9ographiquement \u00e9loign\u00e9es de communiquer par la voix. On r\u00e9alise bient\u00f4t qu’il est non seulement possible \u00e0 deux postes distants de communiquer entre eux, mais que l’instrument permet de rejoindre des milliers de personnes simultan\u00e9ment. On passe rapidement de la radiot\u00e9l\u00e9phonie \u00e0 la radiodiffusion.<\/p>\n<p> <\/p>\n<figure id=\"attachment_2204\" aria-describedby=\"caption-attachment-2204\" style=\"width: 1024px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/06\/19200520_Daily_Star-1024x947.jpg\" alt=\"\" width=\"1024\" height=\"947\" \/><figcaption id=\"caption-attachment-2204\" class=\"wp-caption-text\"><em>De nombreux reportages ont eu lieu \u00e0 la suite de l’\u00e9mission du 20 mai 1920.<\/em><\/figcaption><\/figure>\n<figure id=\"attachment_2396\" aria-describedby=\"caption-attachment-2396\" style=\"width: 218px\" class=\"wp-caption alignright\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/06\/2-2-Concert_19201130-Gazette-180x300.jpg\" alt=\"\" width=\"218\" height=\"363\" \/><figcaption id=\"caption-attachment-2396\" class=\"wp-caption-text\"><em>Publicit\u00e9 pour un \u00ab Concert \u00bb organis\u00e9 avec la collaboration du <\/em><em>fabricant de disques et de gramophones Berliner, de Montr\u00e9al. Source : The Montreal Gazette, 30 novembre 1920.<\/em><\/figcaption><\/figure>\n<p> <\/p>\n<p>\u00c0 Montr\u00e9al, la Marconi Wireless Telegraph Company of Canada obtient une licence de radiodiffusion exp\u00e9rimentale et commence \u00e0 \u00e9mettre en\u00a0 d\u00e9cembre 1919 \u00e0 partir d’un studio situ\u00e9 sur la rue William en utilisant les lettres d’appel XWA.<\/p>\n<p>En mai 1920, \u00e0 l’occasion du congr\u00e8s de la Soci\u00e9t\u00e9 royale du Canada r\u00e9unissant les scientifiques canadiens \u00e0 Ottawa, elle produit \u00e0 Montr\u00e9al une \u00e9mission au cours de laquelle on peut entendre des discours et quelques chansons.<\/p>\n<p>Par la suite, les \u00e9missions deviennent plus fr\u00e9quentes et plus structur\u00e9es. En novembre 1920, moins d’un an apr\u00e8s les d\u00e9buts de XWA, on annonce un \u00ab Concert Berliner \u00bb. Pour le 31 d\u00e9cembre 1920, un autre concert est au programme et on pr\u00e9voit que 1921 sera \u00ab l’ann\u00e9e de la radio \u00bb.<\/p>\n\t\t\t<a href=\"#\" id=\"fl-accordion--label-1\" tabindex=\"0\" aria-controls=\"fl-accordion--panel-1\">Naissance des radios commerciales<\/a>\n\t\t\t\t\t\t\t<a href=\"#\" id=\"fl-accordion--icon-1\" tabindex=\"0\" aria-controls=\"fl-accordion--panel-1\"><i>Expand<\/i><\/a>\n\t\t<p>En 1922, le gouvernement canadien accorde les premiers permis d’exploitation pour des stations de radios commerciales. Une vingtaine de permis sont d\u00e9livr\u00e9s d\u00e8s le mois d’avril et 37 autres avant la fin de d\u00e9cembre. Pour le Qu\u00e9bec, ce sont : CKAC (La Presse), CFCF (Marconi), CJBC (DupuisFr\u00e8res), CHYC (Northern Electric), CFZC (Canadian Westinghouse), CHCX (L. B. Silver), CKCS (BellTelephone), CFUC (Universit\u00e9 de Montr\u00e9al), CFCJ (journal L’\u00c9v\u00e9nement de Qu\u00e9bec)(1).<\/p>\n<figure id=\"attachment_2409\" aria-describedby=\"caption-attachment-2409\" style=\"width: 387px\" class=\"wp-caption alignright\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/06\/3-1-19221002-La-Presse-annonce-CKAC-300x136.jpg\" alt=\"\" width=\"387\" height=\"175\" \/><figcaption id=\"caption-attachment-2409\" class=\"wp-caption-text\"><em>Extrait du journal La Presse du 2 octobre 1922.<\/em><\/figcaption><\/figure>\n<p>Ainsi, en mai 1922, le quotidien La Presse annonce que la station CKAC sera en ondes \u00e0 l’automne.L’artisan de cette innovation est Jacques-NarcisseCartier. Originaire de Saint-Hyacinthe, il a d’abord fait ses classes comme op\u00e9rateur radio \u00e0 laMarconiWireless Telegraph Coen Nouvelle-\u00c9cosse. La station CKAC et la station CFCF, qui remplace d\u00e9sormais XWA, partageront la m\u00eame fr\u00e9quence pendant quelques ann\u00e9es, ce qui est courant \u00e0 l’\u00e9poque. Cela signifie que les auditeurs peuvent capter alternativement des \u00e9missions en fran\u00e7ais et en anglais, selon le moment de la journ\u00e9e.<\/p>\n<p>La station CKAC proc\u00e8de \u00e0 quelques essais en septembre 1922 et la premi\u00e8re \u00e9mission officielle a lieu le samedi 30 septembre 1922. Le journal LaPresse rapporte ce qui suit :<\/p>\n<figure id=\"attachment_2432\" aria-describedby=\"caption-attachment-2432\" style=\"width: 303px\" class=\"wp-caption alignleft\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/07\/3-2-CFCF_Canada_Cement_BANQ_3762248_1-192x300.jpg\" alt=\"\" width=\"303\" height=\"473\" \/><figcaption id=\"caption-attachment-2432\" class=\"wp-caption-text\"><em>\u00c9difice Canada Cement, ou \u00e9tait situ\u00e9e la station CFCF en 1922 avec son antenne sur le toit. Source : BANQ 3762248 CP023594<\/em><\/figcaption><\/figure>\n<p>\u00ab Le programme de samedi soir a dur\u00e9 sans interruption de 7 heures jusqu’\u00e0 11heures et demie, gr\u00e2ce \u00e0 la courtoisie de la compagnie Marconi (poste CFCF, \u00e9difice de la Canada Cement) qui a fait rel\u00e2che ce soir-l\u00e0 entre 8 et 9 heures, pour permettre au poste CKAC une \u00e9mission continue(2).<\/p>\n<p>L’\u00e9mergence de la radiodiffusion se fait \u00e0 la vitesse de l’\u00e9clair. De la vingtaine de stations commerciales n\u00e9es au printemps 1922, on passe \u00e0 plus de 80 stations de radio au Canada en 1928. Le nombre de permis de r\u00e9ception passe de 1 200 \u00e0 760 000entre 1921 et 1931 ! Le Canadien National forme un premier r\u00e9seau pan canadien de stations durant cette premi\u00e8re d\u00e9cennie. C’est en partie sur la base de ce premier r\u00e9seau que sera cr\u00e9\u00e9e, en 1936, la Soci\u00e9t\u00e9 Radio-Canada, et notamment les stations montr\u00e9alaises CBF et CBM.<\/p>\n<p> <\/p>\n<p> <\/p>\n<p> <\/p>\n<p> <\/p>\n—————-<br \/>\n1. Pierre Pag\u00e9,\u00a0<em> L’histoire de la radio au Qu\u00e9bec,\u00a0<\/em>Fides, 2006, p. 447.<br \/>\n2. La Presse, 2 octobre 1922, p. 17.\n\t\t\t<a href=\"#\" id=\"fl-accordion--label-2\" tabindex=\"0\" aria-controls=\"fl-accordion--panel-2\">Op\u00e9ras et concerts symphoniques<\/a>\n\t\t\t\t\t\t\t<a href=\"#\" id=\"fl-accordion--icon-2\" tabindex=\"0\" aria-controls=\"fl-accordion--panel-2\"><i>Expand<\/i><\/a>\n\t\t<figure id=\"attachment_2411\" aria-describedby=\"caption-attachment-2411\" style=\"width: 370px\" class=\"wp-caption alignright\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/06\/4-1-Orgue_CKAC_LaPresse_19230127-300x242.jpg\" alt=\"\" width=\"370\" height=\"298\" \/><figcaption id=\"caption-attachment-2411\" class=\"wp-caption-text\"><em>Orgue \u00e9lectrique Casavant install\u00e9 \u00e0 CKAC. Source : La Presse, 27 janvier 1923.<\/em><\/figcaption><\/figure>\n<p>Durant les ann\u00e9es 1920, il existe encore peu d’enregistrements sur disque et la plupart ont \u00e9t\u00e9 enregistr\u00e9s m\u00e9caniquement, ce qui leur conf\u00e8re une faible qualit\u00e9 acoustique. Ainsi, d\u00e8s ses d\u00e9buts, le studio de CKAC est con\u00e7u comme une petite salle de concert, ce qui permet d’accueillir des musiciens et de diffuser de la musique en direct. Lors du concert inaugural de la station, une quinzaine d’artistes se relaient au microphone. Qui plus est, le 27 janvier 1923,\u00a0 La Presse annonce \u00e0 ses lecteurs que le studio dispose maintenant d’un orgue Casavant1.<\/p>\n<p> <\/p>\n<p>La station de Marconi, CFCF, n’est pas en reste. En juin 1922, elle organise une Semaine de la radio :<\/p>\n<p>\u00ab Demain soir et tous les soirs de la semaine prochaine, \u00e0 8 h 30, nous offrirons un concert sp\u00e9cial de radio \u00e0 nos six th\u00e9\u00e2tres en plus de notre programme ordinaire. Songez-y ! Des chanteurs, des instrumentistes et des fanfares, \u00e0 des milles de distance, vous \u00e9gaieront2. \u00bb<\/p>\n<figure id=\"attachment_2424\" aria-describedby=\"caption-attachment-2424\" style=\"width: 1024px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/07\/4-2-Radio_Week_LaPresse_19220617_Radio_et_The\u0301a\u0302tre_p8-1024x696.jpg\" alt=\"\" width=\"1024\" height=\"696\" \/><figcaption id=\"caption-attachment-2424\" class=\"wp-caption-text\"><em>Semaine de la radio organis\u00e9e dans diff\u00e9rentes salles de Montr\u00e9al en 1922. Source : La Presse, 17 juin 1922.<\/em><\/figcaption><\/figure>\n<p>D\u00e8s f\u00e9vrier 1923, CKAC entreprend une s\u00e9rie d’\u00e9missions visant \u00e0 faire conna\u00eetre au public d’ici les chansons et les musiques qui viennent de para\u00eetre en France. Cette s\u00e9rie est sous la direction de Raoul Vennat, importateur de musique fran\u00e7aise. Des artistes de l’\u00e9poque, comme la soprano Anne-Marie Asselin ou la basse Armand Gonthier, interpr\u00e8tent des compositions contemporaines. En juin 1923, CKAC diffuse une premi\u00e8re op\u00e9rette intitul\u00e9e Les cloches de Corneville. Il s’agit d’une \u00e9mission \u00e0 grand d\u00e9ploiement o\u00f9 une dizaine de solistes est entour\u00e9e d’un ch\u0153ur de plus de 30 personnes et d’un orchestre de 25 musiciens !<\/p>\n<figure id=\"attachment_2426\" aria-describedby=\"caption-attachment-2426\" style=\"width: 380px\" class=\"wp-caption alignleft\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/07\/4-3-Dow_Orchestre_CFCF_CKAC_1925_BANQ_4082627_1-300x187.jpg\" alt=\"\" width=\"380\" height=\"237\" \/><figcaption id=\"caption-attachment-2426\" class=\"wp-caption-text\"><em>Orchestre Dow, dans les ann\u00e9es 1920. Source : BANQ 4082627 CP027170<\/em><\/figcaption><\/figure>\n<p>En 1929, cette station n\u00e9gocie une entente avec le r\u00e9seau am\u00e9ricain CBS. L’entente permet \u00e0 la station de diffuser localement des concerts de musique classique produits dans de grande villes am\u00e9ricaines ou m\u00eame europ\u00e9ennes. En contrepartie, l’orchestre symphonique de CKAC, dirig\u00e9 par Edmond Trudel, se produit plusieurs fois par semaine sur le r\u00e9seau am\u00e9ricain3. Ainsi, la musique et l’op\u00e9ra ont \u00e9t\u00e9 pr\u00e9sents \u00e0 la radio d\u00e8s ses premi\u00e8res heures.<\/p>\n<p> <\/p>\n—————-<br \/>\n1. La Presse, 27 janvier 1923, p.15.<br \/>\n2. La Presse, 17 juin 1922.<br \/>\n3. Pag\u00e9, op.cit., p. 322.\n\t\t\t<a href=\"#\" id=\"fl-accordion--label-3\" tabindex=\"0\" aria-controls=\"fl-accordion--panel-3\">La chanson folklorique et populaire<\/a>\n\t\t\t\t\t\t\t<a href=\"#\" id=\"fl-accordion--icon-3\" tabindex=\"0\" aria-controls=\"fl-accordion--panel-3\"><i>Expand<\/i><\/a>\n\t\t<p> <\/p>\n<figure id=\"attachment_2445\" aria-describedby=\"caption-attachment-2445\" style=\"width: 323px\" class=\"wp-caption alignright\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/07\/5-1-Eckstein_nlc002738-v6-243x300.jpg\" alt=\"\" width=\"323\" height=\"399\" \/><figcaption id=\"caption-attachment-2445\" class=\"wp-caption-text\"><em>Page couverture d’un feuillet de musique pour une chanson de Willie Eckstein intitul\u00e9e Uptown 6303.<\/em><\/figcaption><\/figure>\n<p>Au d\u00e9but de la radiophonie, les stations \u00e9mettrices s’adressent aux classes moyennes et sup\u00e9rieures vu le co\u00fbt d’acquisition des appareils r\u00e9cepteurs. Il est donc normal de proposer aux nouveaux auditeurs de la musique classique et des airs d’op\u00e9ra. Toutefois, au fur et \u00e0 mesure que le prix des radios diminue, on rejoint un nombre grandissant d’auditeurs de toutes les classes sociales. De plus, \u00e0 compter du milieu de 1925, les enregistrements sur disque sont de meilleure qualit\u00e9, les proc\u00e9d\u00e9s ayant \u00e9volu\u00e9. Alors qu’on ne peut vendre des disques qu’aux acheteurs qui disposent d’un gramophone et plus tard d’un tourne-disque \u00e0 la maison, faire tourner ces disques \u00e0 la radio permet de rejoindre un auditoire plus \u00e9loign\u00e9 et plus grand.<\/p>\n<p> <\/p>\n<p> <\/p>\n<figure id=\"attachment_2447\" aria-describedby=\"caption-attachment-2447\" style=\"width: 262px\" class=\"wp-caption alignleft\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/07\/5-2-Isidore-et-Fernando-Soucy-238x300.jpg\" alt=\"\" width=\"262\" height=\"331\" \/><figcaption id=\"caption-attachment-2447\" class=\"wp-caption-text\"><em>\u00c0 la fin des ann\u00e9es 1920, le folkloriste Isidore Soucy est pr\u00e9sent toutes les semaines \u00e0 la station CKAC (photographi\u00e9 ici dans les ann\u00e9es 1950 avec son fils Fernando)<\/em><\/figcaption><\/figure>\n<p> <\/p>\n<p>De nouveaux artistes \u00e9mergent gr\u00e2ce \u00e0 la radio. L’un des tout premiers est probablement Willie Eckstein. Originaire de Pointe-Saint-Charles, ce pianiste de ragtime, qui travaille aussi au cin\u00e9ma muet, aurait \u00e9t\u00e9 invit\u00e9 par la jeune station XWA. En 1924, le folkloriste Conrad Gauthier participe pour la premi\u00e8re fois \u00e0 une \u00e9mission au poste montr\u00e9alais CKAC. Le violoneux Isidore Soucy est pr\u00e9sent \u00e0 la radio entre 1926 et 1930 gr\u00e2ce \u00e0 l’\u00e9mission de la Living Room Furniture \u00e0 CKAC(1). D’autres voix comme celles de J. Hervey Germain, de Jacques Aubert et de Mary Travers – mieux connue sous le nom de La Bolduc – font aussi leur apparition. Dans les ann\u00e9es 1940, le jeune MarcelMartel se produit \u00e0 la radio de CHLN \u00e0 Trois-Rivi\u00e8res, puis sur les ondes de CHEF \u00e0 Granby(2).<\/p>\n<p> <\/p>\n<p> <\/p>\n<p>Au cours des ann\u00e9es 1940, Alys Robi est de plus en plus populaire aupr\u00e8s du public montr\u00e9alais alors qu’elle interpr\u00e8te des airs du r\u00e9pertoire latino-am\u00e9ricain. Elle se produit r\u00e9guli\u00e8rement en direct \u00e0 CKAC en plus de commencer \u00e0 enregistrer des78 tours(3).<\/p>\n<p>L’utilisation de microphones plus performants permet \u00e0 une nouvelle texture sonore de se r\u00e9pandre. Les crooners savent manier le micro et d\u00e9veloppent ainsi un nouveau son. Lionel Parent et Jean Lalonde font partie de ces nouveaux interpr\u00e8tes qu\u00e9b\u00e9cois.<\/p>\n<figure id=\"attachment_2449\" aria-describedby=\"caption-attachment-2449\" style=\"width: 326px\" class=\"wp-caption alignright\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/07\/5-3-Alys_Robi_P48S1_P23022-300x206.jpg\" alt=\"\" width=\"326\" height=\"224\" \/><figcaption id=\"caption-attachment-2449\" class=\"wp-caption-text\"><em>La chanteuse Alys Robi accompagn\u00e9e par un orchestre de la radiodiffusion de l’\u00e9mission Tourbillon de la Gaiet\u00e9 de C.K.A.C, 1943<\/em><\/figcaption><\/figure>\n<p>En outre, plusieurs \u00e9missions de radio aident d\u00e9sormais \u00e0 lancer des carri\u00e8res. Ainsi, Guy Mauffette anime <em>Baptiste et Marianne<\/em> dans les ann\u00e9es 1950, ce qui permet \u00e0 F\u00e9lix Leclerc des’y produire. Au cours des ann\u00e9es 1940 et 1950, le chanteur et compositeur Fernand Robidoux anime \u00e0 Trois-Rivi\u00e8res, \u00e0 Sherbrooke et \u00e0 Montr\u00e9al plusieurs \u00e9missions au cours desquelles il fait conna\u00eetre des jeunes chansonniers qu\u00e9b\u00e9cois, dont Raymond L\u00e9vesque(4).<\/p>\n<p> <\/p>\n<p> <\/p>\n—————-<br \/>\n1. Jean Du Berger, Jacques Mathieu et Martine Roberge,<br \/>\n<em>La radio \u00e0 Qu\u00e9bec, 1920-1960<\/em>, PUL, 1997, p. 145.<br \/>\n2. Rep\u00e9r\u00e9 en ligne au [http:\/\/lequebecunehistoiredefamille.com\/stars\/marcel-martel].<br \/>\n3. Rep\u00e9r\u00e9 en ligne au [http:\/\/www.qim.com\/artistes\/biographie.asp?artistid=231]. <br \/>\n4. Jean-Nicolas De Surmont, \u00ab L’impact de la radiophonie commerciale sur la po\u00e9sie vocale qu\u00e9b\u00e9coise \u00bb, <em>Revue internationale d’\u00e9tudes canadiennes<\/em>, nos 39-40, 2009, p. 75; accessible en ligne au [https:\/\/doi.org\/10.7202\/040823ar]\n\t\t\t<a href=\"#\" id=\"fl-accordion--label-4\" tabindex=\"0\" aria-controls=\"fl-accordion--panel-4\">Le th\u00e9\u00e2tre \u00e0 la radio<\/a>\n\t\t\t\t\t\t\t<a href=\"#\" id=\"fl-accordion--icon-4\" tabindex=\"0\" aria-controls=\"fl-accordion--panel-4\"><i>Expand<\/i><\/a>\n\t\t<p>Au cours des ann\u00e9es 1920, les stations de\u00a0 radio \u00e9mettent seulement quelques heures par semaine. Graduellement, le nombre d’heures en ondes augmente et on cherche \u00e0 diversifier la programmation. On y introduit quelques bulletins d’information (en soir\u00e9e, pour ne pas nuire \u00e0 la vente des journaux du matin), les cotes de la bourse, ainsi que des sketches et des pi\u00e8ces de th\u00e9\u00e2tre. CKAC diffuse, le 5 avril 1923, une premi\u00e8re pi\u00e8ce de th\u00e9\u00e2tre, <em>F\u00e9lix Poutr\u00e9<\/em> de Louis Fr\u00e9chette,puis, en juin, une autre pi\u00e8ce, <em>La mal\u00e9diction<\/em><\/p>\n<figure id=\"attachment_2459\" aria-describedby=\"caption-attachment-2459\" style=\"width: 317px\" class=\"wp-caption alignright\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/07\/6-1-19230405_La-Presse-CKAC_Fe\u0301lix_Poutre\u0301-300x241.jpg\" alt=\"\" width=\"317\" height=\"254\" \/><figcaption id=\"caption-attachment-2459\" class=\"wp-caption-text\"><em>Source : La Presse, 5 avril 1923.<\/em><\/figcaption><\/figure>\n<p>En 1929, CKAC met en ondes <em>L’heure provinciale<\/em>, une \u00e9mission \u00e9ducative plac\u00e9e sous la direction d’\u00c9douard Montpetit et subventionn\u00e9e parle gouvernement du Qu\u00e9bec. Elle pr\u00e9sente chaque semaine des conf\u00e9renciers ainsi que des musiciens, des compositeurs et des auteurs qu\u00e9b\u00e9cois. Le musicien et dramaturge Henri Letondal et la com\u00e9dienne Juliette B\u00e9liveau animent pendant une dizaine d’ann\u00e9es cette \u00e9mission qui fera conna\u00eetre des grands noms de la musique tels que Lionel Daunais et Claude Champagne ainsi que des auteurs qu\u00e9b\u00e9cois tels Robert Choquette et Jovette Bernier.<\/p>\n<p>En 1939, Guy Mauffette r\u00e9alise <em>Grandes \u00e9missions du th\u00e9\u00e2tre contemporain<\/em> sur les ondes de CBF, la toute jeune station de Radio-Canada \u00e0 Montr\u00e9al. D’autres \u00e9missions du genre se succ\u00e8dent \u00e0 cette antenne. Au d\u00e9but, ce sont surtout des pi\u00e8ces du r\u00e9pertoire classique, mais graduellement on fait place \u00e0 des \u0153uvres qu\u00e9b\u00e9coises, notamment dans des \u00e9missions comme <em>Entr\u00e9e des artistes<\/em>, <em>Radio th\u00e9\u00e2tre <\/em>Ford et <em>L’\u00e9quipe aux quatre vents<\/em>. De cette fa\u00e7on, \u00e0 la fin de la p\u00e9riode de la guerre, les auditeurs peuvent d\u00e9couvrir les radio th\u00e9\u00e2tres d’auteurs qu\u00e9b\u00e9cois tels Pierre Dagenais et F\u00e9lix Leclerc aux c\u00f4t\u00e9s des Shakespeare, Racine, Tch\u00e9khov ou Corneille(1).<\/p>\n<p>Radio-Canada diffuse \u00e9galement <em>Radio Coll\u00e8ge<\/em> de 1941 \u00e0 1956. Selon les ann\u00e9es, la dur\u00e9e de l’\u00e9mission varie de quatre \u00e0 huit heures par semaine. Au cours des ann\u00e9es, on pr\u00e9sentera une multitude de cours et de conf\u00e9rences dans diff\u00e9rents domaines du savoir ainsi que des cours de th\u00e9\u00e2tre sur le r\u00e9pertoire international et fran\u00e7ais, de m\u00eame que des cours de musique allant de la th\u00e9orie musicale \u00e0 Mozart et l’op\u00e9ra(2).<\/p>\n<figure id=\"attachment_2461\" aria-describedby=\"caption-attachment-2461\" style=\"width: 396px\" class=\"wp-caption alignleft\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/07\/6-2-Runaway_Princesse_BANQ_06M_P4S1P8389-300x210.jpg\" alt=\"\" width=\"396\" height=\"278\" \/><figcaption id=\"caption-attachment-2461\" class=\"wp-caption-text\"><em>Des com\u00e9diens lisent la pi\u00e8ce de th\u00e9\u00e2tre The Runaway Princess au microphone de CFCF, 1942. Source : BANQ Fonds Conrad Poirier, P48S1P8389<\/em>.\u00a0<\/figcaption><\/figure>\n<p>Durant les ann\u00e9es 1950, l’\u00e9mission <em>Nouveaut\u00e9s dramatiques<\/em> dirig\u00e9e par Guy Beaulne et pr\u00e9sent\u00e9e \u00e0 CBF se veut un laboratoire d’\u00e9criture dramatique pour la radio. Plusieurs auteurs y participent dont Yves Th\u00e9riault, Yvette Naubert, F\u00e9lix Leclerc, Marcel Dub\u00e9, Louis-Georges Carrier, Louis-MartinTard et Claude Jasmin. Puis les \u00e9missions <em>Billet de faveur<\/em>, <em>Flagrant d\u00e9lit<\/em>, <em>Le th\u00e9\u00e2tre de Qu\u00e9bec<\/em>, <em>Le th\u00e9\u00e2tre de poche<\/em> et <em>Studio d’essai<\/em> se succ\u00e8dent \u00e0 CBF et permettent \u00e0 de nouveaux auteurs comme Hubert Aquin et Jacques Languirand de se faire conna\u00eetre au cours des ann\u00e9es 1960. Plusieurs jeunes com\u00e9diens comme Robert Gadouas prennent place au microphone.<\/p>\n<p>Au cours des ann\u00e9es 1970, la soci\u00e9t\u00e9 d’\u00c9tat continue \u00e0 diffuser des radio th\u00e9\u00e2tres, notamment lors des \u00e9missions<em> Premi\u00e8res<\/em>, de 1970 \u00e0 1986, et <em>La Feuillaison<\/em> o\u00f9 sont pr\u00e9sent\u00e9es des \u0153uvres de Jacques Godbout, Pierre Turgeon, Normand Chaurette, Arlette Cousture et bien d’autres.<\/p>\n<p> <\/p>\n—————-<br \/>\n1. Ren\u00e9e Legris,<em> Histoire des genres dramatiques \u00e0 la radio qu\u00e9b\u00e9coise<\/em>, Montr\u00e9al, Septentrion, 2011, p. 131<br \/>\n2. Pierre Pag\u00e9 \u00ab Le th\u00e9\u00e2tre de r\u00e9pertoire international \u00e0 Radio-Coll\u00e8ge (1941-1956) \u00bb, <em>L’Annuaire th\u00e9\u00e2tral<\/em>, no 12 (automne 1992), p. 53-87; accessible en ligne au [https:\/\/doi.org\/10.7202\/041175a].\n\t\t\t<a href=\"#\" id=\"fl-accordion--label-5\" tabindex=\"0\" aria-controls=\"fl-accordion--panel-5\">Les premiers radioromans<\/a>\n\t\t\t\t\t\t\t<a href=\"#\" id=\"fl-accordion--icon-5\" tabindex=\"0\" aria-controls=\"fl-accordion--panel-5\"><i>Expand<\/i><\/a>\n\t\t<p>La radio \u00e9tant un m\u00e9dia de communication de masse par excellence, il n’est pas surprenant qu’on y entende, d\u00e8s les premi\u00e8res ann\u00e9es de son existence, l’adaptation radiophonique du feuilleton imprim\u00e9(1): le radioroman.<\/p>\n<figure id=\"attachment_2463\" aria-describedby=\"caption-attachment-2463\" style=\"width: 1024px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/07\/7-1-Legris-061-1024x821.jpg\" alt=\"\" width=\"1024\" height=\"821\" \/><figcaption id=\"caption-attachment-2463\" class=\"wp-caption-text\"><em>Com\u00e9diens du radioroman La Pension Velder : Amanda Alarie, Armand Leguet, Henri Poitras, Cl\u00e9ment Latour et Juliette B\u00e9liveau. Source : Ren\u00e9e Legris, Histoire des genres dramatiques \u00e0 la radio qu\u00e9b\u00e9coise, Septentrion, 2011.<\/em><\/figcaption><\/figure>\n<p>Au Qu\u00e9bec, c’est \u00e0 compter de 1935 que les auditeurs peuvent suivre quotidiennement les premiers h\u00e9ros francophones d’un radioroman, <em>Le cur\u00e9 du village<\/em>, \u00e9crit par le po\u00e8te, romancier et sc\u00e9nariste Robert Choquette(2). L’\u00e9mission de 15 minutes est pr\u00e9sent\u00e9e chaque soir, de janvier 1935 \u00e0 juin 1938, sur les ondes de CKAC(3). Elle obtiendra un succ\u00e8s important d\u00e8s sa premi\u00e8re saison et, d\u00e8s sa deuxi\u00e8me, de bonnes cotes d’\u00e9coute. On parle d’un r\u00e9el ph\u00e9nom\u00e8ne social, de nombreux auditeurs des villes et des campagnes se regroupant chez des voisins pour l’\u00e9couter(4).<\/p>\n<p>Ce genre litt\u00e9raire conna\u00eetra un succ\u00e8s ph\u00e9nom\u00e9nal au Qu\u00e9bec. Ce que les Am\u00e9ricains d\u00e9signent alors sous le vocable de <em>soap opera<\/em>, puisque ce sont g\u00e9n\u00e9ralement des fabricants de produits m\u00e9nagers ou d’hygi\u00e8ne personnelle qui commanditent les \u00e9missions, prendra ici l’appellation de \u00ab radio-feuilleton \u00bb ou plus souvent de \u00ab radioroman \u00bb.<\/p>\n<figure id=\"attachment_2465\" aria-describedby=\"caption-attachment-2465\" style=\"width: 1024px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/07\/7-2-Legris-071-1024x803.jpg\" alt=\"\" width=\"1024\" height=\"803\" \/><figcaption id=\"caption-attachment-2465\" class=\"wp-caption-text\"><em>Com\u00e9diens du radioroman Un homme et son p\u00e9ch\u00e9 r\u00e9alis\u00e9 par Guy Mauffette, \u00e0 la console avec un technicien. Au micro : Hector Charland et Estelle Mauffette et Albert Daemen, bruiteur. Source : Ren\u00e9e Legris, Histoire des genres dramatiques \u00e0 la radio qu\u00e9b\u00e9coise, Septentrion, 2011.<\/em><\/figcaption><\/figure>\n<p>Robert Choquette \u00e9crira d’autres radioromans comme <em>La pension Velder<\/em> et <em>M\u00e9tropole<\/em>. Bient\u00f4t, les \u0153uvres de Claude-Henri Grignon (<em>Un homme et son p\u00e9ch\u00e9<\/em>), Henry Deyglun (<em>Vie de famille<\/em>), Jean Desprez, nom de plume de Laurette Larocque (J<em>eunesse dor\u00e9e, Yvan l’intr\u00e9pide<\/em>), Louis Morisset (<em>Grande s\u0153ur<\/em>, <em>Vers le soleil avec tante Lucie<\/em>, <em>Rue des pignons<\/em>, <em>Face \u00e0 la vie<\/em>), Roger Lemelin (<em>La famille Plouffe<\/em>), Genevi\u00e8ve Gu\u00e8vremont (<em>Le survenant<\/em>) et Fran\u00e7oise Loranger (<em>La vie commence demain<\/em>) et de bien d’autres auteurs seront jou\u00e9es \u00e0 la radio.<\/p>\n<p>C’est donc l’occasion pour de nombreux com\u00e9diens et com\u00e9diennes de faire leurs d\u00e9buts. Dans <em>Le cur\u00e9 du village<\/em> se produisent d\u00e9j\u00e0 des interpr\u00e8tes qui deviendront tr\u00e8s connus du grand public tels que Denise Pelletier, Juliette B\u00e9liveau, Marjolaine H\u00e9bert, Paul Gu\u00e8vremont, Ovila L\u00e9gar\u00e9, Roland Chenail, Yvette Brind’Amour et Guy Mauffette.<\/p>\n<figure id=\"attachment_2467\" aria-describedby=\"caption-attachment-2467\" style=\"width: 1024px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/07\/7-3-Legris-051-1024x733.jpg\" alt=\"\" width=\"1024\" height=\"733\" \/><figcaption id=\"caption-attachment-2467\" class=\"wp-caption-text\"><em>Les com\u00e9diens du radioroman La famille Plouffe, Paul Gu\u00e8vremont, Amanda Alarie, Denise Pelletier, \u00c9mile Genest, Jean-Louis Roux et Pierre Valcourt. Source : Ren\u00e9e Legris, Histoire des genres dramatiques \u00e0 la radio qu\u00e9b\u00e9coise, Septentrion, 2011.<\/em><\/figcaption><\/figure>\n—————-<br \/>\n1. Les romans feuilletons \u00e9taient courants dans les journaux du 19e si\u00e8cle, o\u00f9 les lecteurs pouvaient suivre chaque jour les aventures de leurs h\u00e9ros pr\u00e9f\u00e9r\u00e9s. La concurrence entre les quotidiens \u00e9tait f\u00e9roce, et cette forme de culture de masse faisait vendre de la copie. Certains feuilletons \u00e9taient l’\u0153uvre de d\u00e9butants, mais de grands auteurs comme Zola, Balzac et Maupassant ont aussi contribu\u00e9 \u00e0 ce genre litt\u00e9raire populaire.<br \/>\n2. Pag\u00e9, <em>op.cit.<\/em>, p. 377.<br \/>\n3. Rep\u00e9r\u00e9 en ligne au [https:\/\/fr.wikipedia.org\/wiki\/Le_Cur%C3%A9_de_village_(radio)]<br \/>\n4. <em>Idem.<\/em>\n\t\t\t<a href=\"#\" id=\"fl-accordion--label-6\" tabindex=\"0\" aria-controls=\"fl-accordion--panel-6\">Un genre particulier: l’humour<\/a>\n\t\t\t\t\t\t\t<a href=\"#\" id=\"fl-accordion--icon-6\" tabindex=\"0\" aria-controls=\"fl-accordion--panel-6\"><i>Expand<\/i><\/a>\n\t\t<p>Les Qu\u00e9b\u00e9cois adorent les spectacles d’humour et ce n’est pas d’hier ! Les sketches humoristiques font leur apparition \u00e0 la radio francophone d\u00e8s le d\u00e9but des ann\u00e9es 1930, et ils sont les pr\u00e9curseurs de la vogue des radioromans, qui se manifestera \u00e0 la fin de cette d\u00e9cennie.<\/p>\n<figure id=\"attachment_2469\" aria-describedby=\"caption-attachment-2469\" style=\"width: 1024px\" class=\"wp-caption alignleft\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/07\/8-1-Legris-016-1024x812.jpg\" alt=\"\" width=\"1024\" height=\"812\" \/><figcaption id=\"caption-attachment-2469\" class=\"wp-caption-text\"><em>Gratien G\u00e9linas, auteur de Fridolinons en compagnie de la com\u00e9dienne Monique Lepage et du r\u00e9alisateur Guy Mauffette. D\u00e9but des ann\u00e9es 1940. Source : Ren\u00e9e Legris,Histoire des genres dramatiques \u00e0 la radio qu\u00e9b\u00e9coise, Septentrion, 2011.<\/em><\/figcaption><\/figure>\n<p>\u00ab Robert Choquette et Alfred Rousseau en sont les premiers auteurs. Les programmes humoristiques <em>Au coin du feu <\/em>(1931-1932) et <em>Le Vieux Raconteur <\/em>(1932-1933) sont ax\u00e9s sur la peinture de milieux sociaux du monde rural et r\u00e9gional. <em>L’Auberge de la for\u00eat noire<\/em>, diffus\u00e9 d’octobre \u00e0 d\u00e9cembre en 1933 et en 1935, \u00e0 CHLP, et <em>L’Auberge des chercheurs d’or<\/em> d’Alfred Rousseau, diffus\u00e9 \u00e0 CKAC et \u00e0 CKCH entre octobre 1934 et mars 1935, pr\u00e9sentent des s\u00e9ries de sketches inscrits dans une continuit\u00e9 narrative gr\u00e2ce \u00e0 des personnages r\u00e9currents. Une s\u00e9rie humoristique d’Alfred Rousseau, <em>Les Aventures de quatre domestiques<\/em>, est diffus\u00e9e \u00e0 l’antenne de CHLP entre septembre \u00e0 d\u00e9cembre 1936(1). \u00bb<\/p>\n<figure id=\"attachment_2471\" aria-describedby=\"caption-attachment-2471\" style=\"width: 268px\" class=\"wp-caption alignleft\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/07\/8-2-Legris-037-237x300.jpg\" alt=\"\" width=\"268\" height=\"339\" \/><figcaption id=\"caption-attachment-2471\" class=\"wp-caption-text\"><em>Les com\u00e9diens Georges Bouvier et Ovila L\u00e9gar\u00e9, dans la s\u00e9rie Nazaire et Barnab\u00e9 vers 1943. Source : Ren\u00e9e Legris, Histoire des genres dramatiques \u00e0 la radio qu\u00e9b\u00e9coise, Septentrion, 2011.<\/em><\/figcaption><\/figure>\n<p>Outre les auteurs mentionn\u00e9s ci-dessus, d’autres comme Gratien G\u00e9linas, Ovila L\u00e9gar\u00e9, Henry Deyglun, Claude Robillard et \u00c9douard Baudry \u00e9crivent des textes humoristiques pour la radio. Les sketches diffus\u00e9s en ondes sont aussi parfois satiriques. Ainsi, au cours des ann\u00e9es 1940, \u00c9mile Coderre cr\u00e9e le personnage de Jean Narrache dans ses <em>R\u00eaveries de Jean Narrache<\/em> diffus\u00e9es par plusieurs stations qu\u00e9b\u00e9coises. Des textes de Jovette Bernier alimentent la s\u00e9rie de sketches humoristiques <em>Quelles nouvelles<\/em> entre 1939 et 1956.<\/p>\n<p>\u00ab C’est sans doute dans le programme <em>Chez Miville<\/em> (1956-1970), r\u00e9alis\u00e9 par Paul Legendre, qu’on trouve la plus grande diversit\u00e9 des styles du comique, chacun des auteurs – Albert Brie, Louis-Martin Tard, Michel Dudragne, Jean St\u00e9phane, Louis Pelland, Louis Landry – ayant d\u00e9velopp\u00e9 une conception du comique qu’il exprime selon sa vision du monde(2). \u00bb<\/p>\n<p>On ne peut passer sous silence l’importance de l’\u00e9mission quotidienne <em>Les joyeux troubadours<\/em>, diffus\u00e9e \u00e0 CBF de 1941 \u00e0 1977. Dans une formule semblable \u00e0 l’\u00e9mission de vari\u00e9t\u00e9s, on y pr\u00e9sente des textes humoristiques et des blagues.<\/p>\n<figure id=\"attachment_2473\" aria-describedby=\"caption-attachment-2473\" style=\"width: 300px\" class=\"wp-caption alignright\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/07\/8-3-Legris-045-300x233.jpg\" alt=\"\" width=\"300\" height=\"233\" \/><figcaption id=\"caption-attachment-2473\" class=\"wp-caption-text\"><em>Paul \u00c9mile Corbeil et \u00c9mile Coderre de la s\u00e9rie Jean Narrache, 1944. Source : Ren\u00e9e Legris, Histoire des genres dramatiques \u00e0 la radio qu\u00e9b\u00e9coise, Septentrion, 2011.<\/em><\/figcaption><\/figure>\n<p>Au cours des ann\u00e9es 1970 et 1980, les \u00e9missions humoristiques font appel \u00e0 des com\u00e9diens pour qui la radio constitue un v\u00e9ritable tremplin. Pensons seulement \u00e0 la notori\u00e9t\u00e9 de Tex Lecor et de ses comparses (Roger Joubert, Louis-PaulAllard, Pierre Labelle) dans le cadre du <em>Nouveau festival de l’humour qu\u00e9b\u00e9cois<\/em>, diffus\u00e9 chaque\u00a0 semaine de 1974 \u00e0 1989 \u00e0 CKAC, et \u00e0 Rock et Belles Oreilles (Guy A. Lepage, Richard Z. Sirois, Chantal Francke, Bruno Landry, Yves P. Pelletier et Andr\u00e9 Ducharme), dont les d\u00e9buts ont lieu \u00e0 la radio communautaire CIBL-FM, en 1981.<\/p>\n<p> <\/p>\n<p> <\/p>\n—————-<br \/>\n1. Legris, <em>op. cit.<\/em>, p. 58.<br \/>\n2. Pag\u00e9, cit\u00e9 dans Legris, <em>op. cit.<\/em>, p. 66.\n\t\t\t<a href=\"#\" id=\"fl-accordion--label-7\" tabindex=\"0\" aria-controls=\"fl-accordion--panel-7\">Au Canada anglais : se distinguer des am\u00e9ricains<\/a>\n\t\t\t\t\t\t\t<a href=\"#\" id=\"fl-accordion--icon-7\" tabindex=\"0\" aria-controls=\"fl-accordion--panel-7\"><i>Expand<\/i><\/a>\n\t\t<p>Les stations de radio am\u00e9ricaines peuvent \u00eatre capt\u00e9es facilement au Canada et elles disposent de moyens financiers et technologiques puissants. Les stations canadiennes anglophones ont des moyens limit\u00e9s, mais comme la langue n’est pas un obstacle, elles ach\u00e8tent r\u00e9guli\u00e8rement des \u00e9missions \u00e0 leurs cons\u0153urs am\u00e9ricaines plut\u00f4t que d’en produire elles-m\u00eames.<\/p>\n<figure id=\"attachment_2475\" aria-describedby=\"caption-attachment-2475\" style=\"width: 300px\" class=\"wp-caption alignright\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/07\/9-1-Wayne-and-Shuster-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" \/><figcaption id=\"caption-attachment-2475\" class=\"wp-caption-text\"><em>Johnny Wayne et Frank Shuster, lors de la diffusion du programme<\/em><br \/><em>Army Show, CBC, 1944. Source : Fonds du minist\u00e8re de la D\u00e9fense nationale, PA – 152118.<\/em><\/figcaption><\/figure>\n<p>Afin de contrer cet envahissement, des r\u00e9seaux canadiens se forment, d’abord autour des stations du Canadien National. Ce r\u00e9seau est remplac\u00e9 en 1932 par l’arriv\u00e9e de la <em>Canadian RadioBroadcasting Commission <\/em>(CRBC), elle-m\u00eame remplac\u00e9e en 1936 par le r\u00e9seau anglais de la <strong>Canadian Broadcasting Corporation <\/strong>(CBC).<\/p>\n<p>Ce nouveau r\u00e9seau met en ondes des cr\u00e9ations pancanadiennes telles que l’\u00e9mission de vari\u00e9t\u00e9s <em>The Happy Gang<\/em>, le radioroman familial <em>The Craigs<\/em> et, bien s\u00fbr, <em>Hockey Night in Canada<\/em>. Toutefois, c’est pendant la Seconde Guerre mondiale que les \u00e9missions de la CBC deviennent vraiment populaires.<\/p>\n<p>Plusieurs <em>soap operas<\/em> en lien avec la guerre voient le jour : <em>Theatre of Freedom<\/em>, <em>Fighting for Navy<\/em> et <em>Soldier’s Wife<\/em> en sont quelques exemples. Des pi\u00e8ces de th\u00e9\u00e2tre de diff\u00e9rents auteurs canadiens tels qu’Andrew Allan, Esse Ljungh, Rupert Caplan et J. Frank Willis sont aussi diffus\u00e9es. M\u00eame les \u00e9missions d’humour ont la cote si on pense aux d\u00e9buts radiophoniques du duo Wayne and Shuster en 1941(1).<\/p>\n<figure id=\"attachment_2477\" aria-describedby=\"caption-attachment-2477\" style=\"width: 720px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/07\/9-2-Happy_Gang.jpg\" alt=\"\" width=\"720\" height=\"548\" \/><figcaption id=\"caption-attachment-2477\" class=\"wp-caption-text\"><em>Com\u00e9diens de l’\u00e9mission The Happy Gang.<\/em><\/figcaption><\/figure>\n<p> <\/p>\n—————-<br \/>\n1. Rep\u00e9r\u00e9 en ligne au [https:\/\/www.collectionscanada.gc.ca\/publications\/archivist-magazine\/015002-2131-e.html] \n\t\t\t<a href=\"#\" id=\"fl-accordion--label-8\" tabindex=\"0\" aria-controls=\"fl-accordion--panel-8\">Un th\u00e9\u00e2tre pour aveugles<\/a>\n\t\t\t\t\t\t\t<a href=\"#\" id=\"fl-accordion--icon-8\" tabindex=\"0\" aria-controls=\"fl-accordion--panel-8\"><i>Expand<\/i><\/a>\n\t\t<p>Certes, la force du radioroman d\u00e9pend de la qualit\u00e9 de son \u00e9criture et de ses interpr\u00e8tes, mais elle est aussi tributaire des effets sonores qu’on y ajoute. Comme le mentionnait Robert Choquette, \u00ab le th\u00e9\u00e2tre, \u00e0 la radio, est un th\u00e9\u00e2tre pour les aveugles(1). \u00bb<\/p>\n<figure id=\"attachment_2481\" aria-describedby=\"caption-attachment-2481\" style=\"width: 300px\" class=\"wp-caption alignleft\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/07\/10-1-Bruiteur_Langlois_BANQ_06M_P48S1P23179-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" \/><figcaption id=\"caption-attachment-2481\" class=\"wp-caption-text\"><em>Le bruiteur Roger Langlois durant une \u00e9mission du radioroman<\/em><br \/><em>Les secrets du Dr Morhanges, CBF, 1946. Source : BANQ, Fonds Conrad Poirier, P48S1P23179.<\/em><\/figcaption><\/figure>\n<p>\u00ab Soudain se faisaient entendre les bruits d’une rue, les rumeurs qui s’\u00e9chappaient d’un snack-bar ou d’un restaurant, l’atmosph\u00e8re d’une maisonn\u00e9e de campagne ou le brouhaha familial \u00e0 l’heure des repas; dans ces univers recr\u00e9\u00e9s, l’auditeur basculait comme en un r\u00eave et son imagination activait mille images(2). \u00bb<\/p>\n<p>Le bruiteur est un artiste \u00e0 part enti\u00e8re. Certains, comme Marcel Gigu\u00e8re, dont les d\u00e9buts \u00e0 la radio remontent \u00e0 1939, sont devenus connus du grand public en menant aussi une carri\u00e8re de com\u00e9dien.<\/p>\n<p>\u00ab Le nom de Marcel Gigu\u00e8re est maintenant class\u00e9 parmi les artisans les plus utiles \u00e0 la radio. Outre ses qualit\u00e9s de bruiteur (m\u00e9tier qu’il poss\u00e8de \u00e0 fond), Marcel Gigu\u00e8re poss\u00e8de les dons inn\u00e9s de comique. Il a une imagination tr\u00e8s grande et il a tellement de talent \u00e0 revendre qu’il peut se permettre de donner de pr\u00e9cieux conseils aux r\u00e9alisateurs(3). \u00bb<\/p>\n<p>Qu’aurait \u00e9t\u00e9 S\u00e9raphin Poudrier sans le bruit d’une porte qui grince lorsqu’il entre dans une pi\u00e8ce ?<\/p>\n<figure id=\"attachment_2483\" aria-describedby=\"caption-attachment-2483\" style=\"width: 1024px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/07\/10-2-Bruiteur_BANQ_06M_P48S1P22993-1024x805.jpg\" alt=\"\" width=\"1024\" height=\"805\" \/><figcaption id=\"caption-attachment-2483\" class=\"wp-caption-text\"><em>Bruiteur \u00e0 l’\u0153uvre pendant une \u00e9mission de Nazaire et Barnab\u00e9, 1941. Source : BANQ, Fonds Conrad Poirier, P48S1P22993.<\/em><\/figcaption><\/figure>\n<p> <\/p>\n—————-<br \/>\n1. Du Berger et coll., <em>op. cit.<\/em>, p. 228.<br \/>\n2. Idem, p. 232.<br \/>\n3. <em>Radiomonde<\/em>, 27 juillet 1946, p. 8.\n\t\t\t\t<img decoding=\"async\" src=\"https:\/\/radio100.moeb.ca\/wp-content\/uploads\/2020\/06\/Cover_EatonCatalogue.jpg\" alt=\"Eaton Catalogue\" itemprop=\"image\" height=\"1080\" width=\"802\" title=\"Cover_EatonCatalogue\" onerror=\"this.style.display='none'\" \/>\n\t<p><em><strong>Cataloque Eaton 1926-1927\u00a0 \u00a0 \u00a0<\/strong><\/em><em>D\u00e8s 1926, le magasin T. Eaton avait tr\u00e8s bien saisi toutes les formes de divertissement que la radio pouvait apporter au foyer. Elles sont dessin\u00e9es ici sur la membrane d’un haut-parleur conique.<\/em><\/p>\n\n","excerpt":"En mai 2020, l’Association for Recorded Sound Collections (ARSC) devait tenir son congr\u00e8s annuel \u00e0 Montr\u00e9al. Les organisateurs du Centenaire de la radiodiffusion au Canada avaient convenu avec la biblioth\u00e8que de musique Marvin Duchow de l’Universit\u00e9 McGill, partenaire dans l’organisation du congr\u00e8s de l’ARSC, d’organiser une exposition sur la radio destin\u00e9e aux congressistes. Le congr\u00e8s […]","acf":false}],"_links":{"self":[{"href":"https:\/\/radio100.moeb.ca\/en\/wp-json\/wp\/v2\/pages\/2494","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/radio100.moeb.ca\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/radio100.moeb.ca\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/radio100.moeb.ca\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/radio100.moeb.ca\/en\/wp-json\/wp\/v2\/comments?post=2494"}],"version-history":[{"count":0,"href":"https:\/\/radio100.moeb.ca\/en\/wp-json\/wp\/v2\/pages\/2494\/revisions"}],"wp:attachment":[{"href":"https:\/\/radio100.moeb.ca\/en\/wp-json\/wp\/v2\/media?parent=2494"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}